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HANDBOOK   TO   CHRISTIAN 

AND 

ECCLESIASTICAL   ROME. 


In  Preparation. 
PART  II. 

THE    LITURGY   IN    ROME. 

PARTS  III.  AND  IV.  IN  I  Volume. 

Part  III.-MONASTICISM    IN    ROME. 
Part  IY.-ECCLESIASTICAL    ROME. 


HANDBOOK  TO   CHRISTIAN 

AND 

ECCLESIASTICAL  ROME 


BY 

M.  A.   R.  TUKER 

AND 

HOPE    MALLESON 


JBart  i. 
THE  CHRISTIAN  MONUMENTS  OF  ROME 


LONDON 

ADAM     AND     CHARLES     BLACK 
1900 


This  book  was  publisJud  under  initials  until  January,  1900 


PREFACE. 


This  Handbook  is  intended  to  give  the  visitor  to  Rome 
full  information  about  the  Christian  side  of  its  his- 
tory, about  Roman  churches,  ceremonies,  and  customs, 
which  does  not  fall  within  the  scope  of  such  an  excel- 
lent Handbook  as  that  of  Messrs.  Murray's  general 
Guide. 

It  was  to  have  formed  one  volume,  but  the  matter 
gradually  exceeded  all  limits  ;  and  it  is  now  hoped 
that  this  little  series  of  books  (of  which  the  present  is 
much  the  largest)  may  prove  as  convenient,  dealing  as 
each  volume  will  do,  with  a  subject  complete  in  itself. 

We  cannot  hope  that  among  so  much  detail  we  have 
b^en  able  to  avoid  all  error  ;  nor  that  we  have  always 
made  the  same  choice  as  all  our  readers  would  have 
done,  as  to  what  pieces  of  information  to  give,  and 
what  to  reluctantly  withhold.  When  a  choice  has  had 
to  be  made,  we  have  elected  to  tell  what  is  less  generally 
known. 

There'  remains  only  the  pleasure  of  recalling  the 
many  kindnesses  we  have  received,  and  of  taking  this 


opportunity  of  thanking  all  who  have  helped  us  with 
information,  or  by  suggesting  books. 

Our  gratitude  is  specially  due  to  Monsignor  J,  A. 
Campbell,  Rector  of  the  Scotch  College  in  Rome,  for 
unwearied  helpfulness,  and  readiness  in  answering  an 
infinity  of  questions,  and  for  the  courtesy  of  placing 
his  library  at  our  disposal :  and  for  the  kind  help  given 
us  by  Padre  Semeria,  Barnabite. 

For  the  archaeological  portion  of  this  handbook  we 
are  much  indebted  to  conferences  held  on  the  spot  by 
the  late  Commendatore  G.-B.  De  Rossi,  and  by  his 
pupil  Professor  Orazio  Marucchi.  And  we  desire  also 
to  thank  Professor  Barnabei  and  the  Ministry  of 
Public  Instruction  in  Rome  for  facilities  courteously 
afforded  us. 


TABLE    OF   CONTENTS. 


CHAPTER  I. 

I'AGE 

Origin  of  the  church  in  Rome — the  church  in  the  House — in 
the  Cemetery — in  the  City — Regions — TituH — Diaconise 
— the  Dominicum — earliest  foundations — church  build- 
ing after  the  Peace — destruction  of  pagan  buildings         i — 8 

CHAPTER  n. 
The  Basilica —  history — architecture — campanili  —  decora- 
tion— mosaics — the  pictures  of  the  Madonna — cross — 
crucifix        ------  g — 27 

CHAPTER   HI. 
Interior  of  a  church — the  font — pulpit — ambones — images — 

iconoclastic  controversy — lights — relics   -  -  28 — 45 

CHAPTER  IV. 
S.  Peter's — S.  Peter  in  Rome — the  old  basilica — the  present 

basilica       -  -  -  -  -  -  4G — 87 

CHAPTER  V. 

The  Lateran  Basilica — the  Palace — Patriarchium  —  Bap- 
tistery— Scala  Santa — Christian  Museum  -       88 — 11 1 

CHAPTER  VI. 

Basilica  of  S.  Paul — monastery  and  cloister — TrcFontane— 

S.  Paulin  Rome    -----      112— 125 


TABLE  OF  CONTENTS 


CHAPTER  VII. 


S.  Maria  Maggiore— S.  Sebastiano — S.  Croce — S.  Lorenzo — 

S.  Agnese   ------      126 — 158 

CHAPTER  VIII. 
The   Churches    in    Rome  —  their    titular   Saints  —  Saints' 
emblems  in  art — shrines  and  rooms  of  saints  in  Rome — 
the  Ghetto  and  Trastevere  -  -      159 — 366 

CHAPTER  IX. 
General  history  of  the   Catacombs — Art — Symbolism — In- 
scriptions— objects  found  -  -  -  -      367 — 421 

CHAPTER  X. 
The  Catacombs  on  the  Via  Appia — the  catacomb  of  Callistus 

— of  S.  Sebastian — of  Balbina — Praetextatus. 
On    the   Via   Nomentana  —  S.   Agnese  —  the   Ostrianum  — 

S.  Nicomedes. 
On  the  Salaria  Vetus— S.  Ermete — Pamphylus— Liberale. 
On  the  Salaria  Nova — S.  Felicita— S;  Thraso— Jordanorum 

— Priscilla — ^Novella. 
On  the  Via  Ostia — Lucina — Commodilla^Hortus  Theonis — 

Thecla — Zeno. 
On  the   Aurelia — Octavilla — Processus   and   Martinianus — 

Calepodius — S.  Felix. 
On  the  Latina — Gordianus  and  Epimachus — Apronianus — 

TertuUinus. 
On  the  Ardeatina— S.  Domitilla— Basileus — SS.  Marcus  and 

Balbina. 
On  Via  Portuense — Pontianus — Julius. 
On  the  Tiburtina— Cyriaca— Hippolytus. 
On  the  Labicana— SS.  Petrus  and  Marcellinus  and  Helena 

— Castulus. 
On  the  Flaminia — S.  Valentinus  -  -  -      422 — 533 


Visitors'  Calendar    -----  534-539 
Emperors  and    Popes   during  the  Age   of  the 

Persecutions       -  .  -  .  .  ^40 — 541 

Index     -------  542—547 


LIST   OF    BOOKS    CONSULTED 
FOR   PART   I. 


Agincourt,  Seroux  d'    ....     Histoire  de  I'Art  par  ses  monuments. 

Ampere  Histoire  Romaine  a  Rome. 

Armellini,  Mariano Chiese  di  Roma. 

,,         Antichi  Cimiteri  Cristiani. 

Cimitero  di  S.  Agnese. 

,,         Cripta  di  S.  Emerenziana. 

Scoperto     d'un     Graffito     Storico. 

Roma,  1874. 
Assemani,  Joseph  Aloysius     Kalendaria       ecclesiae       universas. 
Romae,  1755. 

Bayet,  Charles Art  Byzantin. 

Benoit     Architecture  Bizantine. 

Bollandists.     See  De  Smedt. 
Breviarium  Romanum. 

Camerario,  Cencio   Liber  Censuum. 

Regesti  del  Pontifice  Onorio  III. 

Canina    Tempi  Cristiani. 

Ciampini     Vetera  Monumenta.     Romae,  1690. 

Couchaud  Choir  d'Eglises  Bizantines. 

Corroyer     Architecture  Romane. 

De  Rossi,  G.  B Bulletino  di  archeologia  Cristiana 

Roma. 
,,         Inscriptiones  Christianae. 


X  LIST  OF  BOOKS  CONSULTED 

De  Rossi,  G.  B Musaici. 

Roma  Sotterranea. 

De   Smedt.  Pere  J.,  S.  J. 
de  Backer,  Houze,  and 

van  Ortroy Analecta  BoUandiana.     Paris,  1888. 

Einsiedeln Itinerary. 

Fergusson History  of  Architecture. 

Handbook  of  Architecture. 

Fontana Raccolta  della  Chiese  di  Roma. 

Tempio  Vaticano.     Roma,  1694. 

Germano,  Padre   La  casa  celimontana  dei  SS.  martin 

Giovanni  e  Paolo. 

Gibbon    Rise  and  Fall  of  the  Roman  Empire. 

Gregorovius,  Ferdinand  . .     History   of    Rome   in    the    Middle 

Ages,  English  translation  by  Annie 

Hamilton,  and  Italian  translation. 
Guerin,  Monsignor  Paul. .  Les  Petits  BoUandistes.  Paris,  1882. 
Itinerarium  Salisburgense. 

Jameson,  Mrs Sacred  and  Legendary  Art. 

Johannes  Abbas    Index  Oleorum. 

Johannes    Diaconus   (Hy- 

monides)     Vita  S.  Gregorii  Magni  (in  Migne). 

Justiniani    Digesta. 

Kraus Real-Encyklopadie  der  Christlichen 

Alterthiimer. 

Laterouilly     Edifices  de  Rome.   Paris,  1840-1857. 

Le  Vatican  et  S.  Pierre  de  Rome. 

Le  Blant,  Edmond Inscriptions  Chretiennes  de  la  Gaule 

anterieures  au  VIII^  siecle.  Paris, 

1856. 

Lenoir Architecture  monastique. 

Liber  Pontificalis,  Edition  Duchesne.     Paris,  1884. 
Malmesbury,  William  of        Notitia  Portarum,  etc.,  circa  Urbem 

Romam. 
Marchi,  Padre Monumenti     delle     Arti     cristiane 

primitive  nella  metropoli  del  cris- 

tianesimo.     Roma,  1844. 
Martyrology,  Roman. 


LIST  OF  BOOKS  CONSULTED  xi 

Marucchi,  Professor Orazio    Memorie  dei  SS.  Pietro  e  Paolo, 

Cimitero  di  S.  Valentino. 
Mirabilia  urbis  Romae. 

Mullooly    San  Clemente. 

Nibby Roma  Moderna.     Roma,  1839. 

Okely Development  of  Christian  Architec- 
ture in  Italy.     London,  i860. 
Orsola,  Suor Cronaca  (Roma,  1607).     Vat.  Arch. 

7847. 
Quatremere  de  Quincey  . .     Dictionnaire  Historique  d'Architec- 

ture.     Paris,  1832. 

Renan,  Ernest   Hibbert  Lecture.     1880. 

Ruinart,  Thierrx    Acta  primorum  Martyrum  Sincera. 

1713- 

Severano Le  Sette  Chiese  (1629). 

Signorili Codex.     Vatican  Archs. 

Silvagni Corte  e  Societa  Romana. 

Smith  and  Cheetham  ....     Dictionary  of  Christian  Antiquities 

Smith  and  Ware Dictionary  of  Christian  Biography. 

Tacitus    Annali. 

Tertullian   De  corona  militis. 

De   Praescriptionibus  contra  Here- 

ticos. 
Tillemont,  Le  Nain  de     . .     Memoires  de  I'histoire  ecclesiastique 

des  VI.  premiers  siecles.     Paris, 

1701,  and  Venezia,  1532. 
Torrigio,  Francesco  Maria     Le  sacre  Grotte  Vaticane.     Roma, 

1639- 
Trent  Canones    et     Decreta     Sacrosancti 

CEcumenici    Concilii    Tridentini. 

Romae,  1893. 

Twining Symbols  of  early  Christian  Art. 

Waal,  Monsignor  de    I  Luoghi  Pii  sul'territorio  Vaticano. 

Roma.  1886. 
Wetzer  und  Welte   Kirchenlexicon. 


ERRATA. 

Page  34,  line  29,  for  "  page  61  "  yead  "  page  16." 

Page  49,  first  footnote,  for  "  Annali  "  read  "  Annates." 

Page  108,  line  34,  for  "  Chapter  IX."  read  "  page  408." 

Page  113,  line  3  of  footnote,  for  "  He  was  "  read  "  His  grandson 

was." 
Page  140,  line  33,  for  "  Cipolanno  "  read  "  Cipollano." 
Page  151,  first  note,  for  "  See  Catacombs,  page  367,  and  Chapels, 

page  380,"  read  "  See  Catacombs,  page  380,  and  Chapels, 

page  31." 
Page  157,  first  note,/oy  "  See  Chapter  II."  read  "  See  S.  Nicomedes, 

page  453." 
Page  167,  for  footnote  substitute  "  Cf.  the  discovery  mentioned  on 

page  465." 
Page  257,  line  30,  for  "  page  127  "  read  "  page  427." 
Page  277,  footnote, /oj-  "canon's  choir"  read  "canons'  choir." 
Page  280,  line  13,  for  "  Chapter  X."  read  "  page  523." 
Page  305,  Hne  2,  for  "  Chapter  X."  read  "  page  515." 
Page  311,  Hne  6,  for  "  Chapter  X."  read  "  page  502." 
fage  357,  line  6  from  bottom,  for  "  SS.  Anna  "  read  "  S.  Anna  dei 

Calzettari  ";  and  in  following  line, /w  "  S.  Anna"  read 

"  SS.  Anna  e  Gioacchino." 


HANDBOOK    TO    CHRISTIAN 

AND 

ECCLESIASTICAL    ROME 


CHAPTER  I. 

THE  ORIGIN  OF  THE  CHURCH  IN  ROME. 

The  church  tn  the  House — in  the  Cemetery — in  the  City — Regions— TituH 
— Diaconia — the  Dominicum — the  earliest  foutidations — Church- 
bmlding  after  the  peace — and  destruction  of  pagan  buildings. 

The  first  place  used  for  Christian  worship  was  the 
dwelling  of  the  convert  Christians,  and  the  first  idea 
of  a  church  was  the  idea  of  a  house,  Domus. 

The  reasons  for  this  lay  partly  in  the  necessities  of 
the  time,  it  being  impossible  for  Christians  while  they 
were  persecuted  to  hold  their  worship  in  public  places, 
but  they  were  also  peculiar  to  the  genius  of  Christianity, 
and  to  the  sentiment  of  the  first  Christians. 

The  worship  of  Christians  had  begun  in  a  room,  its 
central  point,  the  last  Supper,  had  been  celebrated  in 
"  an  upper  chamber,"  and  the  new  church  had  issued 
forth  on  the  day  of  Pentecost  from  a  similar  "upper 
room."    So  it  was  in  a  room  of  the  villas  and  houses  of  The  Room 
Christians,  which  were  often  contiguous  to  the  sepolcreto  P''  Church 
possessed  by  them  outside  the  walls  of  Rome,  that  „ 
churches  were  first  dedicated.       "  Salute   Prisca  and 
Aquila  "  writes  St.  Paul,  "...  and  the  church  that 

I 


2  CHRISTIAN  AND  ECCLESIASTICAL  ROME 

is  in  their  house  "  "  Salute  Nymphas  and  the  church 
that  is  in  her  house."''' 

"  L'EgHse  n'avait  riendu  temple;  car  on  maintenait 
comme  un  principe  absolu  que  Dieu  n'a  pas  besoin  du 
temple,  que  son  vrai  temple  c'est  le  cceur  de  I'homme 
juste  .  .  .  c'etait  cependant  deja  un  edifice  a  part ;  on 
I'appelait  '  la  maison  du  Seigneur.'  "f  To  this  first 
place  of  reunion  a  strong  and  tender  sentiment  of  piety 
attached.  The  risen  Lord  had  appeared  to  the  disciples 
in  their  own  houses  and  at  the  hour  of  the  breaking 
of  bread,  and  the  rite  of  '  breaking  bread '  and  the 
special  sense  of  Christ's  presence  were  inseparably 
connected  by  the  earliest  history  of  their  faith  with 
the  house  and  assembly  of  the  faithful.  So  too  the 
significance  of  the  words  of  the  last  Prophet  "  Presently 
the  Lord  whom  you  seek  shall  come  to  his  temple," 
had  been  interpreted  to  them  in  the  words  of  Christ : 
"  Behold  here  more  than  the  temple,"  transferring  to 
His  own  person  the  sacredness  of  that  House,  which 
had  hallowed  all  within  it.j  Henceforth,  it  is  the 
presence  of  Christ  which  creates  the  temple.  Herein 
lay  the  new  genius  of  Christianity,  the  principle  which 
in  the  fervour  of  aspiration  and  faith  experienced  in 
the  first  '  church  in  the  house,'  was  the  seed  of  every 
later  development  of  the  Christian  church. 
The  Next  in   chronological  order  to  the  church  in  the 

church  in  house,  we  find  a  chamber  adapted  in  the  catacombs 
comt»  ^'  for  purposes  of  assembly.  The  Crypts  of  the  cemeteries 
were  primarily  used  for  burial  rites  and  anniversaries, 
and  later  for  the  instruction  of  catechumens,  and  were 
not  designed  for  the  celebration  of  the  Liturgy,  the 
occasion  for  these  celebrations  in  a  catacomb  being 
the  commemoration  of  a  martyr,  and  the  table-tomb 
then  serving  as  the  altar.  Gradually,  however,  on 
account  of  the  tombs  of  the  martyrs,  the  Eucharist 
came  to  be  more  often  celebrated  there  than  in  the 

•  Rom.  xvi.  3,  4;  Col.  iv.  15. 

f  Renan,  Marc  Aurele  et  la  Fin  du  Monde  antique. 

J  Cf.  S.  John  ii.  19,  21 ;  and  Apocalypse,  xxi.  22. 


THE  ORIGIN  OF  THE  CHURCH  IN  ROME  3 

villa  above  ;  and  as  the  catacombs  expanded,  chambers 
came  to  be  excavated  opposite  or  near  the  martyr's 
tomb  for  the  reception  of  a  larger  number  of  persons 
at  these  commemorations. 

Finally,   following   the   precedent  of  the  primitive  The  first 
room  dedicated  as  a  church  in  the  villa  of  the  Christian,  churches 
the  first  church  within  the  city  walls  w^as  probably  ^"  ^'^^ '^"-" 
a  house  adapted  to  the  purposes  of  a  church,  and  is 
first  met  with  under  the   name  of  domus  ecclesits,  the 
church-house.     We  find  it  called  oikos,  a  house,  and 
the  phrase  cts  oikov  used  to  describe  where  superfluous 
offerings  to  the  altar  were  to  be  taken.     The  Roman 
houses  lent  themselves  to  such  conversion,  as  we  see 
them  at  Pompeii,  with  a  porticoed  atrium  opening  on 
the  public  way,  and  rooms  disposed  round  a  central 
court.     Such  an  arrangement  was  well  adapted  to  the 
various  sorts  of  worshippers ;  and  when,  instead  of  a 
room,  an  entire  house  was  devoted  as  a  church,  hardly 
any  alteration  of  the  plan  would  have  been  required. 

So,  too,  when  churches  were  first  erected  as  separate 
buildings,  the  type  chosen  resembles  most  nearly  that 
of  a  room  or  house. 

From   an   early  period  the  domus  ecclesice  is  found  "  Domus 
within   the   city  as   a   centre  of    Christian   assembly  ecclesiae." 
and  operativeness,  and    as    it    was    named   after   the 
proprietor    or    donor,    it    was   called    titulus,    a    title,  Tituli. 
tittilus    Lwina,    Pudentis,    VestincB ;    more    rarely  after 
some  local  memory,  as  titulus  Pallacince.     It  is  con- 
jectured that  these  tituli  existed  long  anterior  to  the 
pontificate   of   Marcellus    (a.d.    304.)      They   bore   a 
strict  relation  to  the  14  municipal  regions  into  which  The 
Augustus    had    divided   the   city,    each   ecclesiastical  ""^gions  of 
division  being  formed  of  two  of  these.    These  divisions     ^^^  ^ 
axe  still  called  rioni.^-     Repeated  allusion  is  made  in 

*  In  his  "  Roma  Sotterranea,"  vol.  iii.,  p.  514  «^  seq.,  De  Rossi 
illustrates  the  position  of  these  original  seven  regions  from  the 
testimony  afforded  by  the  monuments.  The  first  eccle.siastical 
region  corresponded  to  the  xiii'h  civil  region,  embracing  es- 
pecially the  Aventine  ;   the  second  embraced  the  ii"^  civil  region, 

I — 2 


4  CHRISTIAN  AND  ECCLESIASTICAL  ROME 

the  Liber  Pontificalis  to  these  regions  ;  in  the  life  of 
Evaristus  we  read  of  the  appointment  of  presbyters  to 
the  various  titles  :  "  Hie  titulos  in  urbe  Roma  divisit 
presbyteris  "  (a.d.  112).  Fabian  is  said  to  have  in- 
creased to  14  the  7  original  regions,  and  to  have  ap- 
pointed 14  deacons  (a.d.  238).  Marcellus,  in  308,  con- 
stitutes 25  urban  tituli  for  the  purposes  of  baptism, 
penance,  and  the  burial  of  martyrs ;  and  50  years  earlier 
the  same  is  recorded  of  Dionysius.* 
The  The   titulus   must   be   regarded    as    an    authorized 

titulus.  ecclesiastical  centre  providing  for  the  spiritual  needs 
of  the  Christians  in  its  district ;  for  the  instruction 
of  catechumens,  the  ordering  of  deacons  and  priests, 
for  sacred  psalmody,  and  burial,  and  for  the  baptism 
of  converts  and  infants.  Later  it  became  what  we 
now  mean  by  a  parish  church,  and  the  special  mark 
of  the  titulus,  its  font,  is  the  invariable  sign  of  the 
parish  church  to-day.  At  first  the  titulus  was  not 
devised  for  the  celebration  of  the  liturgy,  the  Bishop's 
Eucharist  was  the  only  one  celebrated  and  all  the 
faithful  attended  it.  It  is  at  a  later  date  that  the 
tituli  became  self-dependent  centres.  From  the  in. 
century  a  suburban  cemetery  was  attached  to  each 
urban  titulus,  and  the  catacombs  now  being  adminis- 
tered by  the  Church  as  a  public  body,  each  titulus 
appointed  a  cleric  to  officiate  in  its  dependent  cemetery  ; 
an  arrangement  which  De  Rossi  supposes  to  have 
existed  from  the  time  of  Fabian,  a.d.  238. 
The  Seven  The  7  ecclesiastical  regions  were  presided  over 
Deacons,  ^^y  y  deacons.  Clement  is  said  by  tradition  to  have 
established  7  diaconeries  in  Rome  as  the  apostles 
had  appointed  7  deacons.     The  Domus  of  the  region 

The           -was    know^n    as    the   Diaconia,    literally   a    house    of 
Diaconia. 

the  CeUan  hill ;  the  third  embraced  the  iii"^  and  v'''  civil  regions ; 
the  fotirth  covered  the  iv">  and  v\^ ;  the  fifth  included  the  vii'h 
and  part  of  the  viii"> ;  the  sixth  probably  corresponded  with  the 
ix'h  ;  and  the  seventh  with  the  xiv'h. 

*  This  was  when  Gallienus  (260-268)  restored  the  property  of 
the  Church,  confiscated  during  the  persecutions. 


THE  ORIGIN  OF  THE  CHURCH  IN  ROME  5 

ministry,  to  which  was  attached  a  hospice  and 
church.  The  exact  service  rendered  by  the  diaconia 
is  disputed  by  writers  on  the  subject ;  some  con- 
sidering that  the  functions  enumerated  above  were 
pecuHar  to  tituli  headed  by  presbyters,  while  those  of 
the  diaconia  were  restricted  to  the  distribution  of  alms  ; 
others,  that  the  diaconiae  were  pious  places  or  oratories 
with  a  hospice  for  the  succour  and  maintenance  of  the 
infirm  and  poor  of  the  region.  The  Abbe  Duchesne 
has  pointed  out  that  while  the  diaconal  titles  are  found 
in  the  central  regions  of  the  city,  the  presbyteral  titles 
were  in  different  and  often  remote  sites. 

It  would  appear  more  probable  that  diaconiae  were 
regional  church-houses  still  more  ancient  than  the 
presbyteral  tituli,  serving  as  centres  of  administration 
for  the  EccUsia  Fratnim,  centres  to  which  everything 
was  referred  and  everyone  applied,  and  from  which, 
more  especially,  the  treasure  of  the  church  was  ad- 
ministered.* The  administrator  of  the  titulus  derived 
his  own  name  from  it,  as  presbyterus  titidis  Praxedis, 
priest  of  the  title  of  Prassede ;  but  deacons  were  at  first 
called  after  the  region — deacon  of  the  first,  or  of  the 
second,  region. 

Besides  such  names  as  titulus  Praxedis,  Piidentis,  etc., 
the  building  was  early  called  Domus  Dei,  and  then 
Doininictim.  Dominicum  is  the  true  ancient  name  for  Domini- 
the  Christian  church,  "  the  Lord's  house  or  place."  cum. 
The  word  Domus  ceased  to  be  used  in  the  time  of 
Constantine,  the  word  Dominicum  at  the  end  of  the 
IV.  century.  The  only  church  still  so  called  in 
Rome  is  the  ancient  archdiaconia  of  the  city,  which 
was  Cyriaca's  house,  now  dedicated  as  S.  Maria  in 
Domnica.  The  word  ecclesia  gradually  and  naturally 
attached  to  the  domus,  though  its  first  meaning  denoted 
the  Christians  themselves,  the  assembly,  not  the  place 
of  assembly. 

The  word  Domus   is  still  preserved  for   us   in    the  "Domus. 

•  See  "  Deacons,  "  Part  IV 


6  CHRISTIAN  AND  ECCLESIASTICAL  ROME 

name  for  our  cathedrals — Duomo,  Dome;  and  the 
idea  of  the  church  as  a  House  is  by  no  means  lost 
to-day.  It  has  sprung  naturally  from  the  double 
aspect  of  the  church  as  the  Christian's  house  and  as 
God's  house  (Domus  ecclesics,  Domus  Dei).  Churches 
have  always  been  used  on  momentous  occasions  for 
assemblies  and  discussions,  and  as  centres  of  the 
public  life,  and  councils  synods  and  miracle  plays 
have  been  held  in  them.  In  Rome  the  church  is  the 
other  house  of  the  people  ;  mothers  take  their  babies 
with  them,  little  children  play  in  them  while  their 
mothers  pray,  and  the  very  raggedest  little  person  in 
the  church  may  be  seen  getting  the  best  place  in  front 
at  the  great  functions.  Through  the  magnificence  and 
brightness  of  the  churches  they  share  in  what  has 
beauty  and  splendour,  and,  by  the  contrast  these 
afford  to  their  ordinary  surroundings,  they  live  a  life 
of  the  imagination  otherwise  closed  to  them. 
Basilica.  The  word  Basilica  was  not  adopted  till  the  time  of 
Constantine  ;  nor  were  the  city  basilicas  and  tituli 
dedicated  to  saints  until  the  bodies  of  the  martyrs 
were  removed  to  them.  The  earliest  dedications,  there- 
fore, as  the  earliest  feast  days,  in  the  Christian  Church, 
all  commemorate  martyrs. 
Numberof  There  was  probably  no  enumeration  of  the  Roman 
the  early  churches  earlier  than  the  beginning  of  the  sixth  cen- 
Romaii  tury.  The  register  of  public  monuments  in  Rome 
made  by  the  Armenian  bishop  Zacharias  in  the  time 
of  Justinian  enumerates  24 ;  but  the  number  is  so 
insignificant  that  the  document  must  borrow  from 
a  much  earlier  authority.  There  were  probably  at 
least  28  tituli  —  presbyteral  and  diaconal  churches 
— 150  years  earlier  than  this,  besides  the  5  great 
basilicas  and  numerous  oratories  and  chapels.*  An 
interesting  list  of  these   churches  appears  from   the 

•  When  Ambrose  stayed  in  Rome,  he  was  accustomed  to  cele- 
brate the  liturgy  in  the  house  of  a  noble  Roman  woman. 

Optatus  Milevius  {circa  370),  speaking  of  the  Donatists,  say 
that  among  40  Roman  basilicas,  they  had  no  place  of  assembly. 


THE  ORIGIN  OF  THE  CHURCH  IN  ROME  7 

subscriptions  of  their  titulars  to  the   synod   held  by 
Pope  Symmachus  in  a.d.  499. 

It    is    conjectured   that    churches    were    first   built  When 
in   the    38  years  of  peace   after    Severus,  or    in   the  churches 
peace  of  Gallienus  (260-268),   although    nothing    re-  ^^[j^  """^^ 
mains  as  evidence  of  this.     Tradition  says  that  the 
house  of  Priscilla  and  her  son   the  senator  Pudens, 
was  dedicated  as  a  "  church  "  by  S.  Peter,  and  it  is 
recorded  of  CeciHa  in  the  11.  century  that  she  wished 
to  have  her  house  consecrated  as  a  "  church,"    Cyriaca, 
in  the  middle  of  the  iii.  century,  made  a  "church"  in 
her  house,  and  in  the  first  years  of  the   iv.  century 
Lucina  had  her  house  converted  into  a  "  church." 

But   the  earliest   foundations  whose  history  is  re-  The 
corded  for  us  date  from  the  iv.  century.     Such  are  S.  earhest 
Pudenziana,  S.  Lorenzo  in  Lucina,  S.  Prisca,  S.  Cecilia,  ^?^  ^' 
S.  Maria  in  Trastevere,  S.  Marco,  the  titulus  Pallacinae,  Rome. 
S.    Lorenzo   in    Damaso,   and  at  the  end  of  the  iv. 
century  SS.   Giovanni   e   Paolo,  the  titulus  Bizantis 
or  Pammachii. 

Two  causes  acted  in  this  first  foundation  of  churches. 
In  the  very  earliest  instances  the  Roman  matrons  con- 
verted their  houses  into  churches ;  the  archpresbyteral 
title  and  the  archdiaconal  title  in  Rome  both  have  this 
origin.  The  cult  of  the  martyrs  gave  rise  to  the  next 
foundations.  From  the  time  of  Constantine  basilicas 
were  built  over  the  contemporaneous  oratories  where 
they  lay.  the  celebrated  crypts  becoming  as  many 
basilicas.  Some  of  the  earliest  edifices  belong  to  this 
category  of  sepulchral  churches,  as  S.  Agnese,  S. 
Lorenzo,  S.  Paolo,  S.  Petronilla. 

The  Roman  people  and  patricians  were  always 
munificent  church-builders,  and  from  the  viii.  century 
the  gilds  built  churches.  Later  still,  cardinals  became 
great  constructors  and  restorers  of  their  titular  church, 
or  of  churches  and  chapels  connected  with  their  families. 
Apparently  monachism  gave  rise  to  less  church-build- 
ing in  Rome  than  elsewhere,  very  few  edifices  having 
been  constructed  as  monastic  churches.     Many  edifices 


8  CHRISTIAN  AND  ECCLESIASTICAL  ROME 

also  have  been  attributed  directly  to  the  Roman  pontiffs 
because  built  in  their  time,  as  in  other  countries  similar 
monuments  are  referred  to  kings. 
Christian       The  ancient  tituli,  or  Church-houses,  were  in  most 
churches    cases  probably  converted  into  simple  basilicas  after 
within  the  ^j^g  "Peace  of  the  Church  ;"  Basihcas  for  the  bodies  of 
the  Peace  ^^^  great  martyrs  being  as  a  rule  built  independently, 
as  they  had  been  built  over  their  tombs  outside  the 
walls.     The   churches   which   retained   the   name   of 
tituli  were  reckoned  as  the  parish  churches  of  the  city. 
Destruc-     The  Christians  must  have  overthrown  many  of  the 
tion  of       temples  of  the  gods  before  the  invasion  of  Alaric  (410).'-^ 
emp  es.     g^^  ^^^  chief  destroyers  of  the  ancient  buildings  were 
Totila  and   Belisarius  (vi.  century).     Theodosius  en- 
deavoured to  finally  suppress  the  worship  of  the  gods, 
Honorius   ^"^  under  his  successor  Honorius  Pagan  Rome  in  fact 
J94-408.  '  ceased  to  exist.     By  the  time  of  Gregory  the  Great, 
writes  Gregorovius,  the  city  was  strewn  with  great 
ruins  of  the  monuments  with  which  the  munificence  of 
her  emperors  from  Augustus  to  Severus  had  dowered 
her.     But  Gregory  himself  was  not  a  destroyer  of  the 
ancient  monuments. 

*  Gregorovius. 


CHAPTER  11. 

THE  BASILICA. 

Its  history — architecture — campanile — decoration— mosaics — pictures  of 
the  Madonna — cross — crucifix. 

The  Roman  basilica  does  not  at  first  sight  receive 
the  appreciation  it  deserves,  especially  from  the 
northern  visitor,  whose  ideas  of  Christian  architecture 
are  inseparably  associated  with  the  gray  Gothic  cathe- 
drals of  his  country,  ideas  which  it  takes  time  to  re- 
adjust. Later  one  gets  to  appreciate  the  beauty  of  the 
simple  form  and  the  straight  parallel  lines  ;  and  the 
harmonious  effect  of  the  long  rows  of  delicate  pillars, 
the  soft  tones  of  the  pavement,  and  the  brilliant  colour- 
ing of  the  apse  mosaics,  exert  a  constraining  charm 
upon  the  beholder  never  again  lost.  The  basilica  in 
its  primitive  form,  as  we  know  it  in  the  few  beautiful 
examples  which  have  come  down  to  us,  is  the  first 
parent  of  Christian  temples.  It  was  first  built,  as  we 
have  seen,  in  the  iv.  century,  when  the  persecution 
of  the  Christians  ceased,  and  the  Church  was  enabled 
finally  to  abandon  its  secret  life  in  the  catacombs. 
At  once  the  need  arose  to  build  a  place  of  assembly 
for  the  faithful,  but  the  moment  was  an  unpropitious 
one :  the  greatness  of  pagan  Rome  had  gone  for  ever, 
its  great  empire  was  falling  into  ruin,  the  age  of  crea- 
tion in  art  was  over  to  be  followed  by  one  of  imitation 
and  decline.  It  was  obvious  that  Christian  builders 
could  not  take  as  their  models  the  pagan  temples 
which  stood  in  their  magnificence  on  every  side.    Such 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Name 
basilica. 


Use  of 
pagan 
basilica. 


Roman- 
esque 
architec- 
ture. 


In  North 
of  Italy. 


In  Rome 

and 

Ravenna. 


Byzantine 
influence 
on  Rome. 


a  course  would  have  been  against  every  feeling  and 
tradition  of  the  time.  Incapable  of  creating  a  new 
type,  they  adopted  instead  the  pagan  basilica,  or  hall 
of  justice,  as  the  type  of  the  Christian  church,  a 
building  so  well  adapted  to  the  new  worship  that 
hardly  any  alteration  was  necessary. 

The  name  "  basilica,"  the  Greek  fiaa-ikiK-q,  means  a 
kingly  place,  where  possibly  kings  held  their  audiences. 
In  the  Roman  usage,  although  the  form  was  borrowed 
from  the  Greek,  it  was  used  as  a  hall  of  justice  or  for 
the  transaction  of  business  in  bad  weather,  for  which 
its  position  on  a  forum  made  it  especially  convenient. 
The  pagan  basilica  then,  was  the  primitive  form  of 
the  Christian  church,  a  style  of  architecture  which, 
with  its  later  developments,  came  to  be  called  Roman- 
esque or  transitional  Roman.  With  slight  local  dif- 
ferences, it  was  adopted  throughout  the  empire  for 
some  two  centuries.  After  this  period  it  developed 
into  the  great  styles  of  architecture,  the  Byzantine  of 
the  east,  and  the  Gothic  of  the  west,  the  Byzantine 
separating  itself  completely  from  western  influence, 
the  Gothic  spreading  and  developing  throughout  the 
north  of  Europe. 

The  Romanesque  survived  longest  in  those  parts 
most  under  the  influence  of  Rome  :  in  the  south  of 
France  and  in  the  north  of  Italy,  until  the  eleventh 
and  twelfth  centuries.  In  Pisa  Florence  and  Venice 
we  find,  however,  traces  of  Gothic  influence,  S.  Mark's 
Venice  being  the  one  instance  of  distinctly  Byzantine 
style. 

Rome,  still  the  mistress  of  the  civilized  world  in 
feeling,  if  not  in  fact,  seems  to  have  resisted  the  in- 
fluence of  the  northern  barbarian  upon  her  architecture, 
and  we  find  within  the  city  and  at  Ravenna  the  Roman- 
esque style  practised  during  the  middle  ages,  and 
until  superseded  by  the  Renaissance. 

Rome  was  undoubtedly  also  influenced  by  the 
Byzantine  forms,  which,  developing  from  the  Roman, 
reacted  again  upon  them  later,  especially  with  regard 


Gothic 
influence 
on  Rome. 


12        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

to  painting  and  decoration.  The  trace  of  Gothic  in- 
fluence, on  the  other  hand,  is  so  shght  in  Rome  as 
to  be  practically  non-existent.  It  came  there  late,  and 
at  the  moment  of  its  own  decline.  Slight  traces,  a 
pointed  arch  or  window,  are  met  with  in  some  of  the 
cloisters,  in  the  Church  of  S.  Agostino,  in  the  apse 
of  SS.    Giovanni   and   Paolo,  and  in  the  Church  of 


PLAN    OF    BASILICA    OF    MAXENTIOS. 


S.  Maria  sopra  Minerva  which  is  entirely  Gothic, 
but  which  was  built  by  foreign  monks  in  the  xiv. 
century. 

By  comparing  the  ground-plan  of  one  of  the  pagan 
basilicas,  such  as  the  Flavian  on  the  Palatine  (built 
A.D.  70-80),  or  the  Ulpian  (a.d.  114),  with  that  of  a 
Christian  basilica,  such  as  S.  Clemente,  their  similarity 
is   manifest.      Both   are    rectangular   buildings   with 


THE  BASILICA  13 

central  nave  divided  from  the  aisles  by  rows  of  pillars 
supporting  a  straight  wall,  and  a  horizontal  or  arched 
roof.  The  Ulpian  basilica  was  87  feet  in  width,  and  Ulpian 
was  higher  than  any  English  cathedral.  An  upper  basilica, 
row  of  columns  upon  the  pillars  of  the  nave  enclosed  a 
gallery  reserved  for  women,  an  architectural  arrange- 
ment which  occurs  in  S.  Agnese  Fuori  and  in  S.  Lorenzo 
Fuori.  At  the  extremity  of  the  nave  was  a  semicir- 
cular apse  at  a  higher  level,  where  the  seats  for  the 
judge  and  assessors  were  placed. 

The  basilica  of  Maxentius  in  the  Forum,  built  at  a  Basilica  of 
later  date  (a.d.  306),  is  of  the  vaulted  type.     Here  the  Maxen- 
nave  pillars  were  superseded  for  greater  strength  by  ^^"^• 
eight  piers  to  support  the  arches  of  the  roof,  an  ar- 
rangement in  its  turn  adopted  by  Christian  architects, 
though  never  on  so  grand  a  scale.      A  wooden   roof 
was  adopted  in  the  earlier  Christian  basilicas  ;  nor  did 
the  popes  or  the  Christian  builders  scruple  to  demolish 
the  monuments  of  ancient  Rome  to  provide  themselves 
with  the  nave  pillars  and  the  materials  they  required, 
and  for  many  centuries  the  palaces  and  temples  of  the 
pagan  Romans  served  as  inexhaustible  stone-quarries 
for  their  Christian  successors. 

The    Christian    basilica,   of   which    S.   Clemente    is  Christian 
perhaps  the  most  perfect  type  now  in  Rome,  was  pre-  basilica, 
ceded  by  a  square  court  or  atrium,  also  called  quadri-  Atrium. 
porticus,  surrounded  by  open  colonnades,  in  which  sat 
penitents  begging  for  the  prayers  of  the  faithful.     Here 
popes,  benefactors  and  illustrious  persons  were  buried, 
the  body  of  the  martyr  alone  resting  within  the  basilica. 
The  origin  of  this  outer  court  is  obscure.     The  form 
is  said  to  have  come  from  the  East,  where  later  it 
developed  into  the  Moslem  mosque,  or  it  may  be  the 
relic   or  representation   of  the   ancient   forum  which 
invariably  accompanied  the  pagan  basilica.* 

The  portico  next  the  church  was  called  the  narthex,  Narthex. 
to  which  the  catechumens  retired  during   the   more 

*  Fergusson,  History  of  Architecture. 


Til    ^ 

a-' 

S  f 

HI 

•       f 

»• 

*  wl    H> 

• 

^1 

^ 

loL- 

'1 

• 

• 

Sffil 


CHRISTIAN    BASILICA    OF    S.    CLF.MENTE,    A.D.    1 128. 


THE  BASILICA  15 

solemn  portions  of  the  mass.     In  the  centre  of  the 
court  was  a  fountain  or  marble  basin,  the  cantharus,  Can- 
for  the  washing  of  hands  before  entering  the  church,  a  tharus. 
custom  which  survives  in  the  present  habit  of  dipping 
the  fingers  in  holy  water  at  the  church  door. 

Generally,  a  circular  building,  the  baptistery,  stood  Baptis- 
without  the  church.  These  detached  baptisteries  are  ^^''y- 
found  in  Northern  Italy  to  a  late  date  ;  but  in  Rome 
a  baptismal  font  was  early  substituted,  standing  either 
to  the  right  or  to  the  left  immediately  within  the  main 
door  of  the  church.  This  change  is  said  to  have  been 
effected  by  the  time  of  Gregory  the  Great. 

The  basilica  itself  was  a  rectangular  hall  with  a 
wide  nave,  flanked  by  a  single  or  double  row  of  pillars  Nave, 
forming  two  or  four  aisles.  These  pillars,  borrowed 
from  pagan  buildings,  often  vary  in  girth,  height,  and 
ornamentation  in  the  same  church.  They  support  the 
high  plain  brick  wall,  pierced  with  rounded  or  arched 
windows.  The  entablature  above  the  pillars  is  gener- 
ally horizontal,  sometimes  slightly  arched.  The  plain 
wooden  rafters  of  the  roof  are  always  visible  in  the  Roof, 
early  basilicas,  with  great  beams  spanning  the  immense 
width  of  the  nave.  Later,  architects  aspired  to  a 
vaulted  roof;  this  was  easily  effected  in  the  aisles, 
their  height  being,  as  a  rule,  half  that  of  the  nave, 
and  being  narrow  a  vaulted  ceiHng  was  easily  sub- 
stituted for  the  wooden  rafters.  In  the  nave  how- 
ever we  find  a  horizontal  roof  retained  to  a  much  later 
date,  owing  to  the  difficulty  of  supporting  a  vaulted 
ceiling  upon  a  single  row  of  pillars  over  such  a  wide 
space.  The  difficulty  was  met,  as  in  the  basilica  of 
Maxentius,  by  substituting  masonry  piers  in  the  nave 
for  the  original  pillars,  either  enclosing  these  latter 
entirely  in  the  piers,  as  in  the  Lateran,  or  in  placing 
them  alternately  between  each  two  pillars,  or  against 
them. 

The  basilica  nave  terminates  in  a  great  semicircular 
apse  or  tribune  raised,  with  the  space  in  front  of  it, 
by  some  three  to  seven  steps  above  the  level  of  the 


i6         CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Transept. 


Bishop's 
throne  or 
cathedra. 


Bema  or 
presby- 
tery. 

Can- 
cellum. 

Pave- 
ment. 

Marble 
mosaic. 


Altar. 


nave.  Sometimes  a  transverse  nave  or  transept  is  in- 
troduced, which  however  extends  but  sHghtly  beyond 
the  width  of  the  nave,  with  sometimes  an  apse  at 
either  end.  The  bishop's  throne  stands  in  the  centre 
of  the  apse,  with  the  seats  for  the  clergy  on  either  side 
of  it.  This  raised  portion  of  the  extremity  of  the  nave 
is  sometimes  enclosed  with  a  balustrade,  forming  the 
so-called  bema  or  presbytery,  for  the  use  of  the  clergy. 
A  similar  arrangement  can  still  be  seen  in  the  Flavian 
basilica  of  Domitian  on  the  Palatine.  Here  fragments 
of  a  marble  balustrade  or  cancellum  remain,  dividing 
the  nave  from  the  raised  tribune,  to  which,  no  doubt, 
culprits  were  brought  before  the  judges  who  sat  within. 

The  pavement  of  the  basilica,  one  of  its  most  charac- 
teristic features,  was  of  Roman  mosaic ;  of  porphyry, 
serpentine,  and  marble,  arranged  in  patterns  of  har- 
monious colouring.  These  marble  mosaics,  and  the 
art  of  marble  carving,  flourished  in  Rome  in  the  xii. 
and  XIII.  centuries  under  the  hands  of  the  great 
Cosma  family  and  a  whole  school  of  artists,  and  the 
beautiful  mosaic  and  marble  altars,  screens,  tombs, 
thrones,  and  ambones,  etc.,  which  have  come  down  to 
us  from  this  epoch,  are  among  the  most  characteristic 
and  admirable  features  of  the  Roman  basilicas. 

The  basilica  altar  stands  in  front  of  the  apse.  The 
position  of  this  one  altar  was  determined  by  that  of 
the  martyr's  tomb.  And  to  understand  the  appear- 
ance of  the  basilican  altar,  we  must  bear  in  mind 
that  Christianity  in  Rome  grew  into  being  in  that  vast 
city  of  the  dead,  the  catacombs,  and  that  when  it 
commenced  its  life  above  ground,  the  first  churches 
built  by  the  Christians  were  inseparably  connected  in 
sentiment,  and  in  many  cases  in  position,  with  the 
hallowed  regions  which  had  been  the  cradle  of  their 
faith.  As  we  have  seen,  some  of  the  earliest  basilicas 
were  built  within  the  house  of  some  prominent  member 
of  the  community,  which  had  already  served  as  a 
secret  meeting-place  ;  others,  and  this  type  we  find 
outside  the  walls  of  the   city,  commemorated   some 


THE  BASILICA  I7 

spot  hallowed  by  the  death  or  burial  of  a  martyr.     In 

the  catacomb,  the  martyr's  tomb  was  itself  the  altar  ;  The  mar- 

and  when  the  basilica  was  built,  it  centred  round  this  ^y^'s  tomb 

spot  sanctified  by  many  memories.    In  some  cases  the  catacomb 

ground  was  cut  away  so  as  to  place  the  foundations  of 

the  basilica  upon  the  actual  level  of  the  catacomb,  as 

in  S.  Agnese  ;  in  others,  the  church  was  built  immedi-  In  the 

ately  over  the  site  of  the  tomb,  as  in  S.  Peter's  and  basilica. 

S.  Paolo  Fuori ;  while  in  the  case  of  the  destroyed 

Church  of  S.  Valentine,  the  basilica  was  placed  by  the 

side  of  the  catacomb  on  account  of  the  hilly  nature  of 

the  ground. 

The  altar  of  the  basilica,  following  the  precedent  of 
the  catacomb,  is  thus  placed  upon  the  martyr's  tomb. 
Round  it  is  a  depressed  space  the  confession,  in  some  Confes- 
cases  the  actual  portion  of  the  original  catacomb  con-  sion. 
taining  the  grave.  The  name  is  derived  from  the  word 
confessor,  and  means  the  tomb  of  a  confessor  of  the  faith. 
It  is  reached  by  two  flights  of  steps,  and  is  generally 
surrounded  by  a  marble  balustrade.  When  later, 
basilicas  were  built  in  honour  of  martyrs,  not  upon 
their  actual  tombs,  the  same  plan  was  adhered  to,  and 
the  bones  or  relics  of  the  martyrs  were  placed  beneath 
the  high  altar. 

The  altar  of  a  basilica  faces  the  apse,  with  its  back 
to  the  confession,  and  the  priest  in  celebrating  mass, 
stands  with  his  back  to  the  apse  and  the  clergy,  and 
facing  the  people  and  the  main  entrance  of  the  church, 
which  in  some  cases  is  to  the  east,  though  the  custom 
of  building  churches  direct  east  and  west  has  never 
prevailed  to  any  great  extent  in  Italy. 

The  choir  of  a  basiUca  for  the  lesser  clergy  was  choir, 
placed  in  the  centre  of  the  nave  in  front  of  the  con- 
fession.    It  was   surrounded   by  a  screen  of  carved 
marble,  low  enough  to  allow  those  without  to  see  all  Pectoral 
within,  called  the  pectoral  transenna.     At  either  side  of  transenna. 
the  choir  were  the  two  ainhones  or  pulpits,  from  which  Ambones. 
.the  Gospel  and  Epistle  were  read.     Beside  that  to  the  Candela- 
right,  the  Gospel  ambone,  stood  a  candelabrum.     The  brum. 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Side 
chapels 
added 
later. 


Exterior. 


Fagade. 


Cam- 
panile. 


floor  of  the  choir  was  raised  some  9  or  12  inches 
above  the  level  of  the  nave,  and  in  some  churches, 
as  S.  Maria  in  Cosmedin,  where  the  choir  has  been 
rerrioved,  this  raised  portion  still  remains  in  the  pave- 
ment. 

At  a  later  date  the  primitive  form  of  the  basilica 
was  subjected  to  alteration  and  modification.  Side 
chapels  and  oratories  were  added,  nave  piers  were  in- 
troduced, and  the  roofs  were  vaulted  ;  other  tombs  than 
that  of  the  martyr  were  placed  in  the  church  itself, 
and  the  original  regularity  of  the  building  was  lost. 
Later  again,  elaborate  hangings  and  tapestries  were 
used  as  decoration,  until  in  the  time  of  Nicholas  V., 
we  read  of  the  basilica  being  "  ornee,  meublee,  en- 
combree."* 

The  basilica  like  its  pagan  predecessor,  was  singu- 
larly plain  and  undecorated  on  the  outside.  Within 
the  city,  the  Christian  basilicas  were,  as  a  rule,  built 
in  streets  among  crowded  houses,  with  no  open  space 
around  them  ;  and  little  attention  was  paid  to  their 
walls,  which  were  of  plain  brick,  with  simple  arched, 
or  round  windows.  The  fa9ade  alone  was  decorated 
with  mosaic,  or  with  tiers  of  windows  with  ornamented 
pillars. 

One  of  the  earliest  additions  to  the  primitive  form 
of  the  basilica  was  the  erection  of  a  bell-tower  or 
campanile.  The  first  of  these  was  built  to  the  atrium 
of  S.  Peter's  by  Adrian  I.  in  the  viii.  century, 
and  campanili  were  built  through  the  xii.  and 
XIII.  centuries,  and  are  among  the  most  perfect 
and  least  altered  buildings  of  the  middle  ages  which 
have  come  down  to  us,  the  ancient  apse  and  the 
campanile  being  often  spared  in  late  restorations. 
They  seem  to  have  been  at  first  attached  to  the 
atrium,  or  to  one  of  the  transepts,  or  to  have  stood  on 
one  or  both  sides  of  the  main  entrance,  or  they  were 
detached  altogether ;  they  never  seemed  to  form  part 
of  the  main  plan  of  the  building.  In  other  parts  of^ 
*  Batiflfol,  Histoire  du  Breviaire  Roma  in. 


TYPE    OF    FACADE. 

I,  of  Pantheon  ;  2,  of  Old  S.  Peter's,  Basilica  form  ;  3,  of  New 

S.  Peter's,  Renaissance,  as  designed  by  Michael  Angelo 

(from  Seroux  d'Agincourt). 

2 — 2 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


In 

Northern 

Italy. 

Form. 


Round, 

square, 

and 

polygonal 

basilicas. 


Frescoes. 


Mosaics. 


Italy,  round  and  polygonal  campanili  are  found,  and 
from  them  grew  the  towers  and  spires  which  form  so 
important  a  feature  of  Gothic  cathedrals  ;  but  in  Rome 
they  never  varied  from  the  original  square  form.  Here 
they  are  the  same  size  from  base  to  summit,  the  lower 
part  of  solid  masonry,  the  upper  portion  consisting  of 
a  series  of  open  windows,  ornamented  with  tiny  pillars 
one  above  the  other,  presenting  the  appearance  of  a 
series  of  loggie ;  on  the  summit,  a  single  cone,  or  a 
central  cone,  with  smaller  ones  at  the  angles.  The 
whole  tower  is  often  ornamented  Avith  mosaic,  or  with 
little  slabs  of  coloured  marble,  porphyry  or  bronze. 
The  campanili  of  S.  Pudentiana  and  S.  Prassede 
are  among  the  earliest  in  Rome.  Many  date  from 
the  pontificate  of  Leo  III.,  who  was  a  great  restorer 
and  builder  of  churches. 

Round,  square,  and  polygonal  basilicas  also  existed 
contemporaneously  with  the  rectangular  forms,  and 
preserved  the  same  type  of  construction,  although  they 
never  became  so  universal,  or  reached  to  such  perfec- 
tion among  the  Roman  architects,  as  they  did  in  the 
Byzantine  and  Renaissance  styles.  S.  Stefano  Rotondo 
and  S.  Costanza  are  types  of  the  circular  basilica. 
The  former,  which  is  probably  of  the  v.  or  vi.  century, 
is  2IO  feet  in  diameter.  S.  Giovanni  in  Fonte,  the 
Lateran  baptistery  is  an  example  of  an  octagonal  basilica. 

The  extreme  simplicity  and  plainness  of  the  Roman 
basilica,  and  the  absence  of  architectural  ornament,  left 
more  scope  for  the  painter  and  mosaicist,  whose  work 
seems  to  have  been  considered  of  pre-eminent  import- 
ance, all  else,  even  form,  being  considered  subsidiary. 
The  plain  walls  of  nave  and  aisles  above  the  columns 
were  covered  with  frescoes,  generally  representing 
scenes  from  the  Old  and  New  Testaments  and  from 
the  lives  of  saints,  while  the  great  vault  and  arch  of  the 
tribune  were  decorated  with  mosaics.  This  latter  form 
of  decoration,  used  by  the  Romans  on  their  pavements, 
was  adopted  for  its  durability,  and  became  one  of  the 
most  characteristic  features  of  the  basilica. 


THE  BASILICA  21 

At    first    the    Christian    artists    followed    classical 
models,  and  the  change  was  one  of  subject  and  belief, 
not  of  style.     In  the  first  centuries  this  was  mystical 
and  symbolic.     In  the  earliest  mosaics,  such  as  those 
in  the  church  of  S.  Pudentiana,  which  are  of  the  time 
of  Pope  Siricius   (384-398),   the  four  Evangelists  are  Emblems 
represented  emblematically  by  the  lion,  ox,  cherub,  of  Evan- 
and  eagle ;  these  occur  either  in  a  row  or  at  the  four  &^"^ts. 
corners.     The  Saviour  is  generally  represented  as  the 
Lamb  upon  the  Mount,  or  enthroned  with  the  Book  of  The 
the  Seven  Seals ;  the  rivers  of  Jordan  and  Euphrates  Lamb. 
flow   from   beneath  His  feet.     The   12   Apostles   ap-  12 
pear  as  12  sheep  issuing  from  the  two  mystic  cities  Apostles. 
of  Jerusalem   and    Bethlehem ;    in    S,    Clemente,    as 
doves  upon  a  cross.      Sometimes  a  hand  holding  a  Hand 
wreath  above  the  Saviour,  typifies  the  Eternal  Father,  holding  a 
The  Prophets  are  generally  in  medallions  high  up,  wreath. 
Sometimes   and  in  later    churches,  the   figure   of  the  Prophets. 
Saviour  is  in  the  centre  between  apostles  or  saints ; 
and  if  a  pope  has  been  a  benefactor  to  the  church,  he  Bene- 
will  appear  at  the  side  or  on  his  knees  below,  and  if  factor, 
still  living,  will  wear  the  square  nimbus. 

The  mosaics  of  S.  Maria  Maggiore,  of  Pope  Sixtus  III . 
(432-440),  and  those  of  S.  Sabina  (425)  were  of  these 
types  ;  while  those  of  S.  Costanza,  of  the  iv.  century, 
represent  flowers,  fruit,  and  genii,  and  follow  more 
closely  the  classic  model. 

After  the  v.  century  a  change  creeps  into  the  Byzantine 
work  of  the  Roman  artists,  and  gradually  classical  influence, 
models  are  abandoned  for  the  Byzantine.  The  sub- 
jects become  more  historical,  scenes  from  the  Old  and 
New  Testaments  are  depicted,  and  worldly  magni- 
ficence is  introduced  into  the  representations  of  Christ 
and  the  Madonna.  The  mosaics  of  SS.  Cosma  and 
Damian,  of  the  vi.  century,  are  of  an  interesting 
transitional  period,  when,  without  showing  Byzantine 
influence,  the  grace  of  the  antique  is  already  gone. 
Those  of  S.  Venantius,  on  the  other  hand,  of  the  time 
of  John  IV,  (640-642),  are  decidedly  Byzantine, 


22  CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Pictures         The   representations   of   the   Madonna   have   been 
of  the         subjected  to  the  same  transition  of  style.    The  earhest 
Madonna,  ^f  ^hese  exists  in  the  catacomb  of  S.  Priscilla,  and  is 
In  cata-      probably  of  the  i.  century.*     The  Madonna  is  here 
S  Pris-      depicted  seated  in  a  natural  attitude,  the  child  upon 
cilia,  I.       her   knee,  above  her  head  the  star,  and   in   front  a 
century,     figure,  perhaps  a  prophet  or  one  of  the  Magi. 
In  Ostrian      Another  representation   of  the   Madonna  upon  an 
catacomb,  arcosolium  in  the  Ostrian  cemetery,  which  is  of  the 
tur  ^^^'      ^^'   century,   may   be  taken  as  the  earliest   example 
of  a  changing  type.     From  this  period  a  long  series, 
extending  into  the  xiii.  century,  shows  the  type  be- 
coming  sterner,  more   formal   and   more   thoroughly 
Byzantine. 
In  cata-  The  Madonna  in  the  catacomb  of  S.  Valentine,  of  the 

c°'v'i°^     VII.  century,  is  a  good  and  early  example  of  the  series, 

*-,\.^  ^!f."'   The  Madonna,  in  a  stiff  and  formal  attitude,  is  dressed 
tme,  VII.      ...  ,'....  r         T-.  •         T- 

century.      ™-  ^i<^"   robes  m   imitation  ol   a  Byzantine  impress. 
She  is  stern  of  aspect,  and  wears  a  veil  and  round 
nimbus.     The  head  of  the  child  reaches  to  the  exact 
centre  of  her  breast ;  he  also  wears  a  round  nimbus. 
A  similar  cycle  can  be  traced  in  the  history  of  the 
The  cross  representations  of  the  cross  and  of  the  crucifixion, 
and  cruel-      'phg   cross  is   not   an   emblem  which  occurs  early, 
^  save  in  allusion,  and  occultly.    When  it  appears  it  has 

several  forms  :  the  equilateral  or  Greek  cross  -[-;   the 

Latin  cross  "j" ;  the  tcui  -  shaped  cross  T,  called  in 
modern  times  the  S.  Antony's  crossf  ;  and  the  trans- 
verse cross,  or  cross  of  S.  Andrew,  X,  made  like  the 
Greek  letter  ch. 

Examples  of  all  these  are  to  be  found  in  the  cata- 
combs, but  as  decoration.  It  is  not  till  about  the 
middle   of  the   v.   century   that   the   emblem   of  the 

*  It  is  judged  by  De  Rossi  to  be  of  the  age  of  the  Flavii,  Trajan, 
or  Hadrian  ;  at  latest,  of  the  first  Antonines. 

t  The  T  is  the  Egyptian  cross,  and  is  sometimes  found  in  the 
hand  of  Philip  the  Apostle.  From  its  likeness  to  the  crutch 
borne  by  S.  Antony,  the  great  hermit,  it  is  called  S.  Antony's 


THE  BASILICA  23 

cross  is  found  at  the  head  of  an  inscription,  but  in 
the  catacombs  it  is  never  so  used.  A  rare  slab  in  the 
cemetery  of  S.  Agnese  is  marked  with  a  plain  Greek 
cross.  The  croce  gammata  is  very  curious,  and  also 
occurs  in  the  catacombs ;  it  is  formed  by  the  inter- 
linking of  four  Greek  gammas  (T)  qj  This  is  the 
sign  svastika,  that  is  of  benediction  and  good  augury, 
known  to  the  ancients  in  extreme  Asia.  It  was 
adopted  by  the  Christians  to  simulate  the  cross,  on 
account  of  its  resemblance  to  the  Phoenician  form  of 

the  letter  tau  i-j-I,  a  letter  celebrated  from  apostolic 

times  as  signifying  the  sign  of  the  cross.  This  sign 
was  sparsely  used  in  the  11.  and  still  less  in  the  iii. 
century. 

After  the  anchor  o — \ O,  which  was  un- 
doubtedly used  as  a  symbol  of  the  cross,  and  such 
occult  allusions  to  the  cross  as  a  dolphin  entwined 
with  a  trident,  and  the  tau  and  the  gamma  crosses,  the 
earliest  representations  of  the  obvious  cross  are  Greek 
or  Latin  crosses  jewelled:^'-  Such  crosses  appear  in  the 
catacombs  and  in  all  the  early  mosaics. 

It  is  not  till  the  vi.  century  that  the  cross  having 
become  a  crucifix,  is  no  longer  a  mere  emblem,  but  an 
image.  Up  to  this  time  the  cross  is  always  an  emblem.f 
One  of  the  earliest  ways  in  which  the  cross  appears  is 
as  the  sign  of  the  cross  made  on  the  person  {vide 
Part  II.). 

In  the  early  mosaics  the  cross,  if  portrayed  at  all,  is 
always  gemmed  and  jewelled,  and  it  is  evident  that 
the  early  Christians  were  reluctant  to  represent  it  at 
all.  The  sentiments  they  loved  to  express  in  art  were 
those  of  hope  and  promise,  of  joy  and  triumph,  not 

♦  When,  later,  crosses  came  to  be  made  of  precious  metal,  the 
five  gems  were  intended  to  represent  the  five  wounds    •  j  •    . 

t  Mrs.  Jameson  marks  the  distinction  between  an  object  used 
as  an  emblem  to  remind,  or  as  an  image  to  represent  to  ourselves 
an  event.     The  latter  is  a/'jV/wrf, 


24         CHRISTIAN  AND  ECCLESIASTICAL  ROME 

those  of  death  and  sorrow.  They  shrank  from  the 
painfulness  of  the  Crucifixion,  especially  as  this  form 
of  death  was  associated  at  that  time  with  the  shameful 
death  of  felons ;  and  though  the  need  of  concealing 


FLOWERED  AND  DECORATED  CROSS  FROM  THE  WALLS 
OF  THE  CATACOMBS. 

their  beliefs  under  imagery  ceased  after  the  Peace  of 
the  church,  the  change  from  the  symbolic  to  the 
actual  representations  of  the  Crucifixion  was  of  very 
slow  growth,  and  at  first  the  painfulness  was  entirely 
omitted. 
Carica-  If  we  except  the  caricature  scratched  upon  a  wall  of 

uireof  the  ^}^g  Imperial  House  on  the  Palatine,*  and  now  in  the 

fixion,  *  This  caricature,  which  was  discovered  in  1856,  is  a  rude 

III.  cen-       scratching  upon  a  wall,  representing  a  figure  upon  a  cross  dressed 
tury.  in  a  toga  with  an  ass's  head,  and  has  given  rise  to  much  con- 

troversy. The  words  beneath  it  have  been  variously  interpreted, 
the  most  probable  reading  being  "  Alexammus  worships  (his)  God" 
The  chamber  in  which  the  scratching  occurs  was  either  a  guard- 
room or  a  boys'  school-room,  and  it  is  probable  that  the  carica- 
ture was  made  by  some  boy  in  derision  of  the  Christian  belief  of 
one  of  his  school-fellows.  In  a  neighbouring  room,  discovered  in 
1870,  the  name  Alexamenus  occurs  again,  followed  by  the  word 
fdelis ;  and  it  has  been  suggested  that  the  boy  scoffed  at  in  the 
caricature  here  makes  a  private  profession  of  faith,  as  the 
word  fidelis  would  only  be  used  or  understood  by  Christians. 
The  date  of  the  caricature  and  these  graffiti  is  probably  the  time 
of  Septimius  Severus,  a.d.  197-215.  See  also  Padre  Garucci's 
article  in  the  Civilta  Cattolica  of  1857,  and  Bulletino  Christ.  Arch., 
1863,  1867. 


THE  BASILICA  25 

Kircherian  Museum,  which  is  of  the  in.  century,  we 
find  the  earhest  representation  of  the  Crucifixion  upon  Cruci- 
a  IV.  century  sarcophagus  in  the   Lateran  Museum,  fixion  on 
and  here  the  symboUc  treatment  is  retained :  Christ  century 
carrying  a  Httle  cross  in  His  hand,  is  being  crowned  garco- 
with  roses  by  a  soldier.      In  the  v.  century  we  find  phagus. 
the  cross  adorned  with  flowers  and  gems  as  a  sign  of 
triumph,   and   with  the  mystic  lamb  as  a  symbol  of 
the  expiating  victim. 

Upon  the  famous  Byzantine  oil  vessels  presented  OnByzan- 
to  Queen  Theodolinda,  a  further  development  can  be  ^"^"^^  °*^ 
traced  (vi.  century).      Here  an  angel  announces  the  ^^^^^  ^' 
Resurrection   to    the    holy   women,    and    above    the 
sepulchre  is  a  tiny  cross  of  flowers  and  the  head  of 
the  Redeemer  in  glory,  at  some  distance  the  2  thieves. 

At    the    end   of  the   v.  and   beginning   of  the   vi. 
century  the  v  custom   of  representing   the   crucifixion 
becomes  more  general;  it  does  not  occur  alone,  but 
always  as  forming  part  of  a  series  of  scenes  from  the 
life  of  Christ.     Upon  the  doors  of  S.  Sabina  we  have  On  doors 
one  of  the  earliest  examples.     Each  panel  represents  of  S.  Sa- 
some  scene  from  the  New  Testament  ;  the  Crucifixion  "^"^-^   ^• 
is  depicted   on   the    first   on   the  left.     The  cross  is 
not  visible  from  below,  and  appears  to  be  altogether 
absent.      Christ   stands  in  the  attitude  of  an  Orante 
draped  in  a  girdle  only,  and  wears  no  nimbus.     The 
2  thieves  on  either  hand  are  smaller  and  youthful  in 
type.     Another   instance  of  a  similar  representation 
is  described  by  S.  Gregory  of  Tours  in  the  church  of 
S.  Genesius  at  Narbonne  (vi.  century). 

A  little  later  we  find  the  figure  of  Christ  clothed  in  Eastern 
a  long  sleeveless  tunic,  called  the  colohio,  in  imitation  usage. 
apparently,  of  the  Eastern  usage.   The  earliest  example 
of  this   is  to  be  found  in  the  Syriac  Gospel  in  the  in  Syriac 
Laurentiana  at  Florence.*     In  this  painting  the  cross  Gospel, 
is  low,   Christ  is  affixed  to  it   by  4  nails,   His   feet 
resting  on  a  projection,  a  nimbus  is  round  His  head ; 

*  A  copy  by  d'Agincourt  exists  in  the  Vatican  Archives  (Cod. 
Vat.  Lat.,  984,  pi.  xii.). 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


In  cata- 
comb of 
S.  Valen- 
tine, VII. 
century. 


In  John 
VII. s 
chapel  in 
S.  Peter's 

In  house 
ofSS. 
Giovanni 
e  Paolo. 
In  under- 
churqh 
ofS. 
Clemente. 


Changes 
in  the 
represen- 
tation of 
the  Cruci- 
fixion. 


the  sun  and  moon  are  on  either  side,  two  soldiers  with 
the  spear  and  sponge  stand  below,  with  the  Madonna 
and  S.  John. 

Another  example  occurs  in  the  catacomb  of  S.Valen- 
tine, which  is  especially  interesting,  being  the  only  one 
at  present  found  in  any  Roman  catacomb.  It  is  of  the 
VII.  century,  and  occurs  in  a  series  of  scenes  from  the 
New  Testament,  most  of  which  have  perished.* 

In  this  century  however,  the  vii.,  the  represen- 
tations of  the  Crucifixion  were  not  so  usual  as  to 
altogether  exclude  the  symbolic  forms,  and  we  find 
in  Pope  Theodore's  mosaics  in  S.  Stefano  Rotondo 
(642-649)  the  gemmed  cross  with  the  head  of  the 
Redeemer  above. 

At  the  end  of  the  vii.  and  beginning  of  the  viii. 
century,  the  symbolic  representations  disappeared  alto- 
gether, and  a  decree  issued  by  a  council  in  692  enforced 
the  substitution  of  the  actual  for  the  symbolic  forms,  on 
the  ground  that  the  latter  were  no  longer  understood 
by  the  people. 

We  still  find  however,  the  Eastern  form  adopted. 
A  Crucifixion  resembling  that  of  the  Syriac  Gospel 
existed,  among  other  scenes,  in  Pope  John  VII. 's 
chapel  in  old  S.  Peter's.  Another  similar  painting  has 
recently  been  discovered  in  the  church  of  S.  Maria 
deir  Inferno  in  the  Foro  Romano.  Another  instance 
exists  in  the  house  of  SS.  Giovanni  e  Paolo  beneath 
their  church  on  the  Coelian. 

In  the  under-church  of  S.  Clemente  is  another  Cruci- 
fixion of  the  same  century,  the  ix.,  but  in  this  case 
the  figure  is  draped  in  a  loin-cloth  only,  and  from  this 
period  we  begin  to  find  it  so,  and  at  a  later  date  it  is 
never  found  clothed.  The  custom  of  representing  the 
figure  clothed  in  the  tunic  obtained  to  a  later  date  in 
the  East. 

Other  changes  followed.  The  most  ancient  traditions 
exclude  any  signs  of  human  weakness  from  the  grief  of 
the  Madonna,  and  in  the  earlier  representations  she  is 
•  See  Catacomb  of  S.  Valentine,  Chap.  X. 


THE  BASILICA  27 

depicted  as  an  Orante.  Later  she  appears  overcome 
with  grief  and  distress.  In  the  earher  paintings  again, 
Christ  is  very  youthful  in  type ;  He  is  represented 
hving,  and  looking  upwards.  Later,  the  dying  Christ 
is  always  depicted  ;  the'  support  for  the  feet  is  with- 
drawn, and  3  nails  are  used  instead  of  4,  in  defiance 
of  the  actual  usage. 

It  is  not  known  with  precision  at  what  epoch  the 
changes  from  the  direct  dignity  of  the  early  art  to  the 
emotional  realism  of  the  later  crept  in  ;  the  more  cruel 
details  were  no  doubt  due  to  an  exaggerated  fervour 
and  desire  to  excite  piety,  and  were  in  keeping  with 
the  more  dramatic  and  sensational  religion  of  the 
middle  ages. 

Giotto  and  his  followers  have  been  accused  of  being 
the  authors  of  these  changes,  but  they  came  in  probably 
earlier,  as  the  crucifix  of  the  Lateran  is  an  example 
of  the  later  type,  and  is  of  the  xi.  century.  The 
change  from  the  living  to  the  dying  Christ  is  said  to 
date  from  the  x.  century. 

A  skull  is  often  represented  on  crucifixes,  in  allusion 
to  the  tradition  that  Adam's  head  was  buried  on  Mount 
Calvary,  whence  its  name  Golgotha,  "the  place  of  a 
skull."  This  Jewish  tradition  is  cited  by  Origen  in  the 
early  iii.  century. 


CHAPTER  III. 


INTERIOR  OF  A  CHURCH. 


Interior  of  a  Church — Altars — The  font  and  holy  water — Reservation — 
Ambones  and  pulpit — Lights — Iconoclastic  controversy — Images  and 
pictures — Relics. 


Altars. 


The  bal- 
dacchino. 

Cornua 
altaris. 


Originally  as  we  see  from  the  form  of  the  primi- 
tive Christian  basilica,  there  was  only  one  altar 
in  the  church.  But  in  the  iv.  century  Ambrose 
in  a  letter  speaks  of  more  than  one  altar  in  a  church 
in  Milan,  and  Gavantus  tells  us  that  2  centuries 
later  in  Gaul  more  than  one  altar  was  to  be  found 
in  the  churches.  The  word  used  by  early  writers,  and 
also  in  the  New  Testament,  for  the  altar  is  thusias- 
terion,  a  rendering  of  the  Hebrew  word,  and  not  the 
pagan  word  bomos.  Origen,  Cyprian,  and  Optatus  all 
refer  to  it. 

The  earliest  altars  faced  the  people  ;  they  did  not 
always  face  east,  at  least  in  Rome,  and  when  they 
did  so  the  congregation  of  necessity  all  faced  west. 
Side  chapels  cannot  of  course  face  eastwards.  The 
altar  is  always  placed  on  a  step,  called  the  predella  ;  but 
the  high  altar  has  three  steps,  the  predella  for  the  priest, 
the  next  step  for  the  deacon,  and  the  lowest  for  the 
subdeacon,  the  rest  of  the  sanctuary  being  a  plane.  As 
soon  as  basilicas  were  built  the  altar  was  placed  under 
a  baldacchimim*  a  canopy  supported  on  4  columns. 

The  horns  of  the  altar  are  its  4  angles ;  four  horns 

*  Called  also  ciborium  from  its  originally  dome-like  shape,  like 
that  of  the  bowl  of  a  cup  reversed. 


INTERIOR  OF  A  CHURCH  29 

were  placed  at  these  corners  in  the  Temple  at  Jeru- 
salem (Exod.  xxvii.  2).  In  cornu  epistolcB  or  cornu  evan- 
gelii  means  at  the  Epistle  side  (right  of  spectator)  or 
the  Gospel  side  (left  of  spectator)  of  the  altar.  In 
ancient  churches,  where  the  altar  faces  the  people,  the  ' 
Gospel  side  is  to  the  right,  and  the  Epistle  to  the  left, 
of  the  spectator.  "  At  the  north  side  "  or  the  "  south 
side  "  does  not,  then,  mean  that  the  celebrant  must  go 
round  the  altar,  but  simply  that  he  must  go  towards  its 
Gospel  (north)  or  Epistle  (south)  angle.  Anciently  all 
actions  of  the  bishop  or  priest  were  visible  to  the  faith- 
ful, but  this  was  not  attained  by  standing  at  one  flank 
or  the  other  of  the  altar,  but  by  the  altar  itself  facing 
the  church  and  the  people.  The  celebrant  thus  faced 
the  people  neither  more  nor  less  when  he  stood  at  the 
south  or  north  "  horn,"  than  when  he  stood  in  the 
centre. 

All  altars  are  draped  with  linen  cloths  ;  there  must  Drapery, 
be  3  white  linen  cloths  for  the  celebration  of  mass, 
the  blessing  of  which  is  mentioned  in  the  Gelasian 
Sacramentary.  The  draperies  in  front  of  the  altar  are 
called  antipendia  or  veils  ;  the  colour  varies  with  the 
season,  and  agrees  with  the  sacerdotal  vestments. 

Above  the  altar  is  a  step  called  super-altar  (or 
predella),  it  is  a  stand  for  candles  or  other  ornaments. 
This  predella  has  often  been  beautifully  decorated  by 
artists,  and  the  fronts  of  altars  are  sometimes  sculptured, 
or  made  of  mother-of-pearl. 

The  3  cards  on  the  altar  contain  those  portions  Cards. 
of  the  mass  which  it  is  most  necessary  to  repeat  cor- 
rectly, or  which  need  not  be  committed  to  memory. 
On  the  centre  card  are  the  Gloria  in  excelsis,  the  Creed, 
prayers  at  the  offertory,  the  prayer  of  consecration 
beginning  Qui  pridie,  the  3  prayers  before  Communion, 
and  the  prayer  Placeat  at  the  end  of  mass.  The 
card  on  the  Epistle  side  has  the  prayer  said  when 
the  water  is  mixed  with  the  wine,  and  the  psalm  at  the 
lavabo.  The  card  on  the  Gospel  side  has  the  last  gospel 
of  S.  John,  which  is  said  that  side  of  the  altar.     The 


30 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


rubrics  only  require  the  central  card,  but  the  addition 
of  the  other  two  has  become  customary. 
Wood  and      The  first  altars  were  made  of  wood  ;  stone  altars  are 
stone.         attributed   to  Pope  Sylvester,  a.d.   314,   but  wooden 
altars  were  certainly  used  after  this  date,  till  in  517 
any  but  stone  altars  were  forbidden  by  a  council.     All 
that  is  necessary,  however,  in  order  to  comply  with 
this  decree,  is  that  a  piece  of  stone  large  enough  to 
contain  the  host  and  chalice  be  placed  in  the  centre  of 
every  altar.    This  is  called  the  pietra  sacra  ;  it  is  signed 
with  5  crosses. 
Form.  One  of  the  very  earliest  forms  of  altar  was  the  tomb 

of  the  martyrs  ;  tombs  of  the  arcosolia  shape  were  used 
as  altars  in  the  catacombs,  the  slab  serving  as  the 
altar.*  Jerome  asks,  "  Male  facit  ergo  Romanus  epis- 
copus  ?  Qui,  super  mortuorum  hominum,  Petri  et 
Pauli,  secundum  nos,  ossa  veneranda  .  .  .  offert  Domino 
sacrificia,  et  tumulos  eorum  Christi  arbitratur  altaria  ?"f 
Does  the  Roman  bishop  do  ill  ?  Who  offers  sacri- 
fices to  the  Lord  over  the  bones  of  dead  men,  Peter 
and  Paul,  which  we  think  venerable,  and  considers 
their  tombs  altars  of  Christ  ? 

When  the  martyrs'  bones  were  translated  to  the 
churches,  they  were  placed  under  the  altars,  I  an  allusion 
to  that  passage  of  the  Apocalypse,  vi.  9.  "I  saw  under- 
neath the  altar  the  souls  of  those  that  had  been  slain 
for  the  word  of  God,  and  for  the  testimony  which  they 
held."  Altars  may  not  now  be  consecrated  unless  they 
contain  relics  of  a  martyr.  According  to  Merati  this 
custom  was  enjoined  by  Pope  Felix  {circa  270).  In 
the  IV.  century  S.  Ambrose  would  not  consecrate  an 
altar  until  relics  were  obtained  to  place  in  it.  These 
relics  are  placed  in  the  pietra  sacra,  and  are  deposited 

*  Prudentius  (348)  speaks  of  the  table-tomb  of  the  martyr 
Hippolytus  being  used  as  an  altar,  so  that  while  it  is  the  faithful 
guardian  of  the  martyr's  bones,  it  "  fills  the  dwellers  on  the  Tiber 
with  holy  food." 

t  Hieron.  Adv.  Vigilant. 

J  This  tomb  is  called  the  Confession,  anciently  martyrium.  See 
p.  17. 


Martyrs' 
relics. 


INTERIOR  OF  A  CHURCH  31 

with  the  words,  "  Underneath  the  altar  of  God  ye 
saints  of  God  have  received  a  place  ;  intercede  for  us 
with  our  Lord  Jesus  Christ."  Durandus*  says  that 
the  Eucharist  must  be  placed  there,  when  there  are  no 
relics.  Dr.  Rock  mentions  this  custom  in  England. 
(Council  of  Calcuith,  a.d.  816.)  It  is  said  that 
S.  Martin  of  Tours  was  the  first  non-martyr  whose 
tomb  was  made  an  altar. 

An  altar  can  only  be  dedicated  to  God,  and  there-  Consecra- 
fore  it  is  wrong  to  speak  of  one  as  dedicated  to  a  saint,  tion  and 
Altars  are  consecrated,  and  anointed  with  chrism.    This  ^.^^i^^- 
consecration  with  chrism  has  been  performed  for  at 
least  1500  years. 

Paulinus  of  Nola  (nat.  353)  tells  us  that  cuhicula  Chapels, 
were  placed  along  the  sides  of  the  church  which  he 
and  his  wife  Terasia  built  in  their  place  of  retirement, 
as  burial  places,  and  for  prayer  and  meditation.  Similar 
cubicula  ran  along  the  sides  of  the  great  basilicas  of 
S.  Peter,  S.  Paul,  and  S.  Sebastian,  and  Muratori  has 
suggested  that  here  was  the  origin  of  side  chapels. 
These  cubicula  would  not  at  first  have  contained 
altars.  When  there  are  not  actual  chapels  in  a  church, 
we  frequently  see  altars. 

"  Altare   privilegiata,"     These  words  are  often  in-  Altare 
scribed    over    altars    and   chapels ;    they    mean   that  Z"''^''- 
••  plenary  indulgence  "  may  be  gained  by  saying  mass  ^^S^"'^^- 
there  for  some  soul  in   purgatory.      There   may   be 
7  such  altars  in  a  church,  and  then  unum  ex  septem,  Unum  ex 
one  of  the  seven,  is  written  over  each  of  the  privileged  septem. 
altars.     The  mass  said  at  these  altars  should  be  a 
requiem   mass.     Every  altar  is  "privileged"  on  the 
day  of  the  commemoration  of  the  dead,  November  2. 

Outside  churches  in  Rome  the  words  indulgentia  Indulgentia 
plenaria  quotidiana  pro  vivis  et  defunctis,  or  some  abbre-  P^^"'^^^'''- 
viation  of  them,  are  inscribed  over  the  door.  This 
means  "  daily  plenary  indulgence  for  the  living  and  the 
dead,"  or  that  plenary  indulgence  on  the  usual  condi- 
tions can  be  obtained  there.  Though  these  words  on 
*  Durandus  died  a.d.  1296. 


32 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Fonts  and 

holy 

water. 


Asperges. 


The 
chapel 
of  the 
Sacra- 
ment. 


the  churches  in  Rome  had  some  meaning  before  the 
great  increase  of  indulgenced  practices  and  devotions, 
they  have  not  any  very  definite  meaning  now. 

On  entering  a  church,  the  first  thing  we  notice  is  the 
stoup,  or  basin  for  holy  water.  The  merely  ritual  ob- 
servance of  dipping  the  fingers  in  this  water  on  entering 
the  church  probably  arose,  as  we  have  seen,  from  the 
custom  of  washing  in  the  canthams,  which  as  a  symbol 
of  purity  and  perhaps  of  grace  used  to  stand  in  the 
atrium. 

In  the  Liber  Pontificalis,  Pope  Alexander  (109)  is 
made  to  decree  the  asperging  of  holy  water  in  private 
houses  ("in  habitaculis  hominum  ").*  Holy  water  is 
blest  with  salt ;  it  is  used  on  many  occasions,  in  bless- 
ing objects,  in  the  burial  of  the  dead,  and  at  the  asperges 
before  mass,  when  it  is  sprinkled  on  the  assistants  and 
people  with  a  brush.  At  Easter  time  the  water  from 
the  newly  blest  font  is  placed  in  the  stoups,  and  carried 
away  by  the  people  who  value  the  "  Easter  water." 
This  holy  water  would  seem  to  be  a  figure  of  baptism 
and  regeneration. 

The  font  is  now  placed  immediately  on  entering  the 
church,  the  baptistery,  in  all  cathedral  and  parish 
churches,  occupying  the  space  of  the  first  chapel  to 
right  or  left.  There  are  examples  of  very  early  bap- 
tisteries in  the  catacombs.! 

Further  on  in  the  church  is  the  chapel  of  the  holy 
sacrament ;  in  parish  churches  it  is  always  reserved  at 
the  high  altar.  The  Host  is  reserved  in  a  ciborium,  or 
pyx  of  precious  metal,  which  is  locked  in  the  tabernacle. 
The  tabernacle  (Ital.  ciborio)  is  covered  with  silk 
drapery,  varying  in  colour  with  the  liturgical  season, 
A  light  always  burns  before  it.  If  the  Host  should  be 
removed  to  another  altar,  the  light  is  removed  and  the 
door  of  the  tabernacle  left  open,  or  the  drapery  {pall) 
is  taken  away. 

*  C/.  the  water  of  aspersion,  and  expiation,  Num.  xix. 
t  See  external  baptistery,  p.  15 ;  and  Baptism,  Part  II.  of  the 
Handbook. 


INTERIOR  OF  A  CHURCH  33 

There  has  always  been  reservation  in  the  Christian  Reserva- 
Church.  The  Eucharistic  bread  was  taken  home  by  tion. 
the  faithful  during  the  period  of  persecution,  and  there 
were  little  boxes  for  this  purpose,  called  arcula  ;  these 
have  been  found  on  the  breast  of  Christians  in  the 
Vatican  catacomb.*  Besides  this,  one  church  sent 
the  Eucharist  to  another  church,  one  bishop  to  another, 
and  the  bishop  of  Rome  for  centuries  sent  it  to  the 
parish  churches.  (See  bishops,  Part  IV.)  The  deacons 
of  both  sexes  bore  it  to  those  who  were  prevented  from 
assisting  at  the  bishop's  mass,  to  the  infirm,  and  to 
the  confessors  in  prison. 

Reservation  in  the  churches  arose  from  the  same 
necessity,  namely  the  communion  of  the  absent  the 
sick  and  the  dying.  At  first  it  was  reserved  in  a  gold 
or  silver  dove  suspended  under  the  canopy  over  the 
altar,  or  in  a  turret-shaped  vessel  also  suspended.  It 
was  suspended  in  England  in  the  xvi.  century  ;  we 
find  among  the  answers  given  at  the  official  enquiry 
in  1576,  concerning  the  non-attendance  of  the  working 
classes  at  church :  "  Isabel,  wife  of  William  Bow- 
man, locksmith,  of  the  parish  of  S.  Cross,  Sayeth 
she  cometh  not  to  the  church,  for  her  conscience 
will  not  serve  her,  because  there  is  not  the  sacra- 
ment hung  up,f  and  other  things  as  hath  been  afore- 
time." 

In  the  Greek  rite,  the  Host  is  reserved  behind  the 
ikonostasis  but  not  at  the  altar. 

In  ancient  churches  we  see  an  ambo  (from  di/a/BaivoD,  Ambones 
to  mount)  a  pulpit  from  which  the  gospel  was  read ;  and  pulpit 
sometimes  there  are  2  ambones,  the  second  being  for 
the   reading   of    the  epistle.       The    gospel    ambo   is 
then  the  more  ornate,  and  is  that  to  the  right  of  the 

•  Tertullian  (circa  150-220)  thus  answers  the  scruples  of  those 
who  feared,  by  receiving  the  Eucharist,  to  break  the  fast  of  the 
dies  stationis :  "  Accepto  corpore  Domini  et  reservato  utrumque 
salvum  est."  If  you  take  the  body  of  the  Lord  and  reserve  it,  you 
keep  both  precepts. 

t  The  italics  are  ours. 

3 


34 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Platform. 


Sedilia. 


Faldstool 
Credence. 


Piscina. 


spectator.     In  the  Ambrosian  rite  (Milan)  the  gospel 
is  still  read  from  the  ambo. 

In  more  modern  churches  we  see  a  pulpit  for  preach- 
ing, on  the  pattern  of  the  ambo.  The  pulpit  is  peculiar 
and  proper  to  the  Christian  church  and  the  Christian 
religion.  The  bishop  used  to  deliver  his  discourse 
from  a  cathedra  or  chair,  and  later,  priests  preached 
from  the  steps  of  the  altar,  and  this  is  still  frequently 
done.  The  crucifix  on  the  modern  pulpit  is  there  in 
allusion  to  S.  Paul's  words  :  "  Seeing  that  Jews  ask 
for  signs,  and  Greeks  seek  after  wisdom  :  but  we 
preach  Christ  crucified,"''' 

At  the  great  preaching  seasons,  a  platform  and  chair 
are  sometimes  placed  in  the  large  churches,  for  the 
greater  convenience  of  preaching.  A  mediaeval  custom 
is  still  to  be  seen  in  the  Roman  churches,  a  discussion, 
namely,  between  il  dotto  e  1'  ignorante,  the  learned 
and  the  stupid  man :  it  is  done  by  two  priests,  two 
chairs  being  placed  on  a  platform  for  the  purpose. 
L'  ignorante  says  all  the  mal  a  propos,  and  the  dotto 
finds  him  easy  to  vanquish. 

The  sedilia  are  seats  for  the  priest  deacon  and  sub- 
deacon,  placed  in  the  sanctuary  at  the  Epistle  side  of 
the  altar.  These  three  seats  should  be  a  bench,  and 
not  three  stools,  according  to  Scamnum  ;  and  should 
be  covered  with  green  on  ordinary  days,  and  purple  in 
the  penitential  seasons.  In  Gothic  churches  they  are 
fixed  stone  seats  ;  in  the  Basilica  they  do  not  appear  at 
all.  (See  Cathedra,  p.  6i.)  The  priest  sits  in  the 
centre,  with  the  deacon  on  the  right,  and  subdeacon 
on  the  left. 

Faldstool.     (See  Bishop's  Mass,  Part  II,) 

The  credence  table  is  for  the  service  of  the  altar,  and 
is  placed  on  the  Epistle  side  of  the  sanctuary.  Only 
one  table  is  used,  unless  a  bishop  celebrates  in  his 
own  diocese. 

The  piscina  is  a  basin  fixed  into  the  wall  by  the  altar ; 


*  I  Cor.  i.  22,  23.     Cf.  also  i  Cor.  ii.  2,  and  Gal.  ill.  i. 


INTERIOR  OF  A  CHURCH  35 

it  has  a  drain  in  it,  and  is  used  for  pouring  away  the 
water  for  washings  at  mass.  We  have  seen  the 
piscina  confused  with  the  holy  water  stoup,  and  care- 
fully placed  in  the  porch  of  an  English  church,  by  way 
of  restoration  to  its  original  position. 

In  all  churches  we  see  one  or  more  confessionals,  Confes- 
wooden  structures  for  the  purpose  of  confession.  There  sional. 
were  no  confessionals  in  the  churches  till  the  xvi. 
century ;  S.  Charles  Borromeo  left  ordinances  regard- 
ing them ;  they  did  not  however  come  into  general 
use  till  the  next  century.  To  this  day  in  Ireland  the 
people,  if  the  church  is  crowded,  do  not  wait  till  the 
priest  reaches  the  confessional,  but  make  him  stop  and 
hear  their  confessions  on  his  way  up  the  church.  Con- 
fessionals were  not  very  necessary  before  the  xvi. 
century,  as  for  the  previous  three  centuries,  since  the 
ordinance  of  1215,  the  custom  of  frequent  confession 
was  almost  unknown. 

In  the  Greek  Church,  confes.sion  is  made  just  within 
one  of  the  two  side  doors  of  the  ikonostasis. 

The  Roman  confessional  is  an  open  woodwork  stall 
in  two  or  three  compartments,  and  this  is  the  only 
pattern  used.  In  other  countries  it  is  closed  with 
doors,  or  may  even  be  built  in  stone  in  the  walls  of 
the  church,  with  wooden  doors. 

Before  altars,  and  sometimes  before  pictures  and  Lights, 
images,  there  is  often  a  light  burning.  Lights,  which 
had  their  place  in  the  worship  of  the  Temple,  are  the 
most  ancient  of  all  the  symbolic  adornments  of 
churches.  Assemani  cites  Exod.  xxv.  37,  and  xxvii. 
20,  21,  in  support  of  the  custom.'^-  A  stand  for  per- 
fumed oils,  in  which  wicks  were  set,  is  often  found  in 
the  catacombs  before  the  tombs  or  images  of  martyrs. 
Prudentiust  tells  us  how  the  tomb  and  altar  of  Hippo- 
lytus  was  ablaze  with  lights ;   and  S.  Paulinus  of  Nola 

*  De  Veto  Ecclesics  Sensu. 

t  Pntdentius,  the  Christian  poet,  was  born  a.d.  348,  in  Spain. 
He  visited  Rome  and  wrote  poems  on  what  he  saw. 

3—2 


36 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


in  the  same  century  speaks  of  the  brilliant  lights  at 
the  altars  at  a  festival : 

"  Clara  coronantur  densis  altaria  lychnis ; 
Lumina  ceratis  adolentur  odora  papyris. 
Nocte  dieque  micant." 
(The  bright  altars  are  crowned  with  lamps  thickly  set.     Lights 
are  burned  odorous  with  waxed  papyri.     They  shine  by  night 
and  day.)* 

Lights  were  also  used  at  the  same  epoch  as  a  ritual 
part  of  the  evening  service  of  prayer.  At  high  mass 
6  candles  must  be  lighted  on  the  altar,  at  low  mass 
2,  at  Vespers  6  are  required,  at  Benediction  there  must 
not  be  fewer  than  12,  and  when  the  Host  is  exposed 
not  less  than  12  or  20. 

In  the  Notitia  Dignitatum  Imperii  tapers  are  mentioned 
as  an  ensign  of  great  dignitaries,  and  the  Abbe 
Duchesne  conjectures  that  the  custom  of  carrying 
lights  before  the  Gospel,  and  on  certain  occasions 
before  the  Pope,  arose  in  this  way. 
Pictures  The  representation  of  sacred  persons  and  sacred 
and  subjects  is  coaeval  with  the  faith  ;    they  were  repre- 

Images.  sented  by  ritual,  by  painting,  and,  less  often,  by 
sculpture.  In  the  East  however  art  was  confined  to 
painting,  out  of  a  presumed  conformity  to  the  Jewish 
and  Eastern  law  which  prohibits  the  graving  of  images. 
It  is  curious  therefore  that  in  the  East  the  veneration 
of  images  is  much  in  excess  of  that  in  the  West.  The 
prohibition  to  make  images,  which  is  absolute  among 
Musulmans,  cannot  certainly  have  been  absolute  for  the 
Hebrews,  since  in  the  Holy  of  Holies  were  figured  the 
two  Cherubim,  and  the  Shema  and  Golden  Candlestick 
were  both  set  at  the  Holy  Place,  while  Moses  was  directed 
to  make  the  image  of  a  serpent  and  raise  it  on  a  rod 
that  all  Israel  might  direct  its  gaze  towards  it.f 

The  rule  in  the  East  has  always  been  that  images 

*  Hymn  on  the  Natalitia  of  S.  Felix,  a.d.  407. 

t  See  also  3  Kings  vii.  (Revised  Version,  i  Kings),  which  speaks 
of  the  making  of  oxen,  cherubim,  lions,  and  palm-trees  "  in  like- 
ness of  a  man  standing,"  etc. 


INTERIOR  OF  A  CHURCH  37 

should  be  painted  after  one  conventional  pattern,  and 
this  pattern  is  the  Byzantine.  In  Russia  whole 
villages  are  devoted  to  the  task  of  making  the  ikons  for 
the  churches  on  this  stereotyped  pattern.  In  the  East 
also,  none  but  the  first  saints  and  martyrs  are  placed 
for  veneration  in  the  churches  ;  the  ikons  of  our  Lord 
and  of  Mary  hold  the  first  place  on  the  ikonostasis ; 
the  12  Apostles,  S.  John  Baptist,  and  the  archangels 
are  also  represented.  In  the  West  on  the  contrary, 
there  is  much  greater  freedom  of  representation,  though 
a  type,  as  e.g.  that  for  the  Sacred  Heart,  is  sanctioned 
when  it  first  appears.*  All  the  saints  can  be  imaged  ; 
and  their  images  placed  in  the  churches  and  over  the 
altars.  There  is  no  such  thing  in  the  West  as  Byzan- 
tinism  in  sacred  art. 

In  A.D,  717-741,  arose  the  controversy  about  the  use  Theicono- 
of  images.  Leo  the  I  saurian  perceived  that  their  clasts. 
prohibition  had  been  a  strength  in  Islam,  and  in 
730  he  abolished  their  use.  The  II.  Council  of 
Nicaea,  under  the  auspices  of  the  Empress  Irene, 
restored  the  veneration  of  images  in  788,  with  great 
solemnities.  In  790  the  Caroline  Books  of  Charlemagne 
and  Alcuin,  and  in  794  the  Council  of  Frankfort  pro- 
nounced decisively  against  the  adoration  [irpoa-Kvvqa-is) 
of  images.  1 

*  Constitutions  of  Charlemagne.   And  Council  of  Trent,  session 

XXV. 

t  Charlemagne's  manifesto,  which  he  issued  with  the  aid  of 
Alcuin  and  other  theologians,  condemned  all  religious  homage 
whatever  paid  to  images,  or  through  images  to  the  Person  repre- 
sented. It  proceeds  to  reprove  the  image-breakers,  especially 
the  fanaticism  which  recognised  no  moral  difference  between  the 
veneration  of  these  images  and  that  of  idols.  Man  is  not,  it  says, 
all  soul,  and  may  lawfully  be  helped  by  the  senses.  It  reproaches 
the  iconoclasts  with  sweeping  away  all  with  which  Christendom 
had  made  its  churches  beautiful,  and  which  preserved  and  kindled 
a  lively  sense  of  sacred  persons  and  events  in  the  minds  of  men. 

The  representations  of  Christ  gave  the  most  offence  ;  and  it 
may  be  said  that  the  question  involved  is  a  close  parallel  to  that 
raised  by  Arianism.  It  has  been  pointed  out  that  Arianism  was 
really  a  return  to  the  primitive  form  of  Hebraic  monotheism. 
To  the  Arians  Christ  was  a  creature  transcending  all  others,  but 


38         CHRISTIAN  AND  ECCLESIASTICAL  ROME 

The  Council  of  Trent  defines :  "  Moreover,  that  the 
images  of  Christ,  of  the  Virgin  Mother  of  God,  and  of 
the  other  saints,  are  to  be  had  and  retained  particularly 
in  temples,  and  that  due  honour  and  veneration  are  to 
be  given  them ;  not  that  any  divinity  or  virtue  is 
believed  to  be  in  them,  on  account  of  which  they  are 
to  be  worshipped,  or  that  anything  is  to  be  asked  of 
them  ;  or  that  trust  is  to  be  reposed  in  images,  as  was 
of  old  done  by  the  Gentiles  who  placed  their  trust  in 
idols  "  (Sessio  xxv.).* 
Part  We  know  that  all  the  early  churches  presented  a 

played  by  mass  of  colour.  Old  S.  Peter's  in  Rome,  and  old 
(^n'stlan  ^*  P^^^'s  in  London,  were  rich  with  representations  of 
worship,  the  mysteries  of  the  faith.  The  images  and  repre- 
sentations in  the  churches,  says  Signer  Armellini,  were 
the  hook  of  the  ignorant  and  simple.  This  was  es- 
pecially true  in  the  1,400  years  before  the  invention  of 
printing.  But  images  are  not  only  a  book  of  fact — 
they  are  a  book  of  imagination  ;  they  instruct  and 
restrain  it.  Standing  round  men  in  the  churches, 
they  signify  the  undeviating  attitude  of  the  spirit  in 
the  presence  of  the  Eternal  God,  the  Church's  pre- 
paredness and  fervour  compared  with  the  individual's 
inequality  in  spiritual  things  :  "  Domine  Jesu  Christe 
.  .  .  ne  respicias  peccata  mea,  sed  fidem  ecclesia  tua." 

No  one  can  have  seen  the  earliest  Christian  images 
without  feeling  that  their  power  to  fix,  direct,  and 
compel  attention  was  well  understood.  From  the 
pictures  and  inscriptions  of  the  catacombs,  we  gather 
that  the  image  was  definitely  intended  to  represent  for 
us  the  watching,  the  vigil,  of  the  blessed  in  heaven, 

always  a  creature,  only  a  creature,  like  others :  and  throughout 
this  controversy  the  special  strength  of  Christianity,  and  the 
necessary  distinctions  between  it  and  every  form  of  Islamism, 
appear  to  have  been  uniformly  neglected.  For  Christianity 
differed  profoundly  from  this  system  of  thought;  it  reconciled 
the  two  statements  :  "  No  man  has  seen  God  at  any  time,"  and  : 
"  Philip,  he  that  has  seen  me  has  seen  the  Father." 

*  The  penny  catechism  says :  ' '  We  do  not  pray  to  relics  or 
images,  for  they  can  neither  see,  nor  hear,  nor  help  us." 


INTERIOR  OF  A  CHURCH  39 

as  both  inspired  by  and  suggesting  the  same  attitude 
on  earth.  "  Trophime,  vigila ;  SANOIIIIII  AEIM- 
NE2TE  rPHrOREI."  (Trophimus,  watch;  Xantippe 
always  watches.) 

We  give  the  history  of  the  crucifix-''  elsewhere.  The 

There    is    a   crucifix   over   every   altar ;  and   it    is  crucifix, 
necessary  for  there  to  be  one  whenever  mass  is  said. 

The  early  representations  of  Christ,  as  we  see  from  images  of 
our   ancient    basilicas,   represent    Him    symbolically  Christ, 
under  the  figure  of  a  Lamb,  an  emblem  due  to  the 
Apocalypse.     Earlier  still,  it  is  as  the  Good  Shepherd  First  ages, 
only  that  He  is  directly  represented,  except  in  scenes 
like  that  of  the  woman  at  the  well,  the   raising  of 
Lazarus,  the  haemorrhoissa,  the  denial  of  Peter,  which 
occur  in   the  paintings  of  the  cemeteries  and  on  the 
marble  sarcophagi. 

In  692,  the  Council  of  Trullo,  held  in  Constantinople,  vii. 
decreed    that    Christ,    represented    hitherto    by    the  century 
symbolic  lamb,  should  in  future  be  more  fitly  depicted 
in  a  human  form.     While  the  image  of  Christ  was  not 
yet    openly  displayed.   He  was  represented  under   the  Occult 
various  Eucharistic  emblems  by  which  He  had  Him-  emblems, 
self  chosen  to  be  commemorated. 

One  of  the  images  now  most  frequently  seen  in  the  Sacred 
churches  is  that  of  the  Sacred  Heart ;  and  many  altars  Heart. 
and  chapels  are  under  this  invocation.     The  image  is 
a    figure  of   Christ,   either   in    painting   or  sculpture, 
representing  Him  standing,  with  a  heart  on  the  left 
side  or  the  centre  of  the  breast. 

The  devotion  to  the  sacred  heart  of  Jesus  Christ  is 
in  one  sense,  of  course,  as  old  as  Christianity,  but  in 
the  special  sense  of  to-day  it  owes  its  immediate 
origin  to  a  French  nun  of  the  Visitation  at  Paray-le- 
Monial,  Mother  Margaret  Mary  Alacoque,t  who  taught 
this  way  of  viewing  the  sacred  person  of  Christ, 
and  in  1675   believed  that  He  encouraged  and  com- 

*  See  ante,  p.  22. 

t  Ob.  1690  ;  beatified  1864.  For  an  account  of  the  Feast,  see 
Part  II. 


40 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


The  Im- 
maculate 
Concep- 
tion. 


Pieta. 


Calvary. 


Mater 
Dolorosa. 


The  Holy 
Family. 


Lourdes 
grotto. 


manded  her  to  spread  this  devotion,  and  made  her 
many  promises  for  those  who  should  adopt  it.  To  a 
world  grown  old,  says  Mother  Margaret's  biographer, 
she  came  to  fulfil  the  prophecy  of  the  great  Gertrude, 
"  and  teach  to  the  world  the  language  ...  of  Jesus' 
heart."  She  made  the  Jesuit  P^re  de  la  Colombi^re 
its  apostle,  and  after  his  death  in  1682,  his  order 
supported  the  devotion. 

Since  1854  images  of  the  Madonna  representing  this 
dogma,  are  frequently  met  with. 

She  stands  on  a  globe,  draped  in  blue  and  white, 
the  head  uncovered,  and  a  crown  or  nimbus  of  twelve 
stars.  Her  foot  is  on  the  serpent  (Apocalypse,  xii.  i). 
This  figure  represents,  the  doctrine  that  Mary  was 
immaculate,  that  is,  free  from  the  stain  of  original  as 
well  as  from  that  of  actual  sin.''' 

The  Pieta  which  we  often  see  in  churches  is  a 
representation,  generally  in  sculpture,  of  our  Lord, 
after  the  taking  down  from  the  cross,  resting  on  His 
Mother's  knees. 

A  large  sculptured  crucifix,  with  Mary  and  John,  or 
with  the  Magdalen,  and  less  often  with  the  two 
thieves  on  either  hand,  is  called  a  Calvary. 

The  Sorrowful  Mother,  or  our  Lady  of  Dolours,  is 
an  image  representing  Mary  as  she  stood  by  the  cross, 
or  with  a  heart  pierced  by  one  or  by  seven  arrows,  in 
allusion  to  the  prophecy  of  Simeon. 

Placing  Jesus,  Mary,  and  Joseph  before  us  as  the 
model  of  the  family  is  by  no  means  a  recent,  but 
neither  is  it  a  very  ancient,  conception.  There  is  now 
a  confraternity  of  the  Holy  Family  in  most  churches, 
which  meets  for  prayers  at  stated  intervals  in  the 
month.  Hence  pictures  of  the  Holy  Family  are  not 
infrequent.  A  feast  for  Rome  and  its  district,  called 
"  Festivita  della  S.  Famiglia  di  Gesia,  Maria,  e  Giu- 
seppe," was  sanctioned  by  the  Congregation  of  Rites 
in  1893. 

In  some  Roman  churches  may  be  seen  a  picture  or 
*  For  the  origin  of  the  Feast,  see  Part  II. 


.    INTERIOR  OF  A  CHURCH  41 

Other  representation  of  the  Madonna,  habited  in  white 
and  blue,  standing  in  the  Grotto  at  Lourdes  ;  round 
her  head  are  written  the  words  which  the  young  girl 
Bernadette  heard  her  say  :  "  Je  suis  rimmaculee  con- 
ception," a  sentence  which,  as  it  has  no  meaning  in 
French,  it  is  not  easy  to  translate. 

For   an   account   of    the    14   pictures   representing  Stations  of 
the  journey  of  Christ  from  Pilate's  hall  to  Calvary,  the  Cross. 
which  are  placed  round  many  churches,  but  not  round 
basilicas,  see  Part  11. 

Relics  are  often  placed  over  altars  in  gold  or  silver  Relics, 
reliquaries,  or  entire  chapels  are  set  apart  for  the 
custody  of  the  relics,  which  are  then  exposed  to  view 
over  the  altar.  On  feast-days  gilt  busts  of  saints  are 
sometimes  placed  on  the  super-altar,  and  these  contain 
relics.  Any  relic  which  the  church  may  possess  is 
exposed  over  an  altar  on  the  feast-day,  and  candles 
lighted.  It  is  customary  for  the  clergy  of  the  church 
to  bow  when  passing  this  relic  altar.  Relics  are  only 
given  away  by  the  bishop,  who  seals  the  relic  case, 
and  a  document  accompanies  it  declaring  that  the 
relic  has  been  duly  taken  from  the  source  indicated. 

Nothing,  of  a  secondary  character,  is  more  remark-  Jewish 
able  than  the  change  of  feeling  about  the  bodies  of  the  feeling. 
dead,  in  the  followers  of  the  new  religion  of  Christ. 
Under  the  Law  of  Moses,  he  who  touched  the  dead, 
or  went  into  his  chamber,  was  defiled ;  and  he  who 
touched  the  bones  of  a  dead  man  or  his  grave  was 
defiled ;  his  state  of  legal  uncleanness  lasted  for 
seven  days  (Numb.  xix.  11-16).  The  sepulchres  were 
whited  before  the  Feast  of  the  Passover,  in  order  that 
the  Jews  coming  up  to  Jerusalem  to  the  feast  might 
remain  uncontaminated. 

But  to  the  early  Christian  society  in  Rome  their 
dead  were  sacred,  and  sanctified  rather  than  defiled 
those  who  came  in  contact  with  them.  There  can  be 
little  doubt  that  the  dreadful  martyrdoms  wrought 
this  change ;  those  who  had  looked  upon  these 
miracles   regarded   the   body,    which    had    been    the 


42         CHRISTIAN  AND  ECCLESIASTICAL  ROME 

instrument  of  this  supreme  witness,  in  a  new  way. 
Their  veneration  for  the  martyr  was  boundless : 
"  Greater  love,"  they  remembered,  "  has  no  man  than 
this,  that  a  man  lay  down  his  life  for  his  friend."  To 
gather  the  relics  of  the  martyrs  was  an  act  undertaken 
by  the  noblest  Christian  women,  assisted  by  pious 
presbyters  and  deacons. 
Early  In  the  West,  and  especially  in  Rome,  it  was  not  per- 

Christian  mitted  to  violate  the  sepulchres  of  the  martyrs.  To  open 
feeling.  their  tombs,  to  remove,  and  much  more  to  divide,  their 
relics  was  considered  a  profanation,  Gregory  the  Great 
gives  us  the  account  of  the  tomb  of  S.  Laurence 
being  opened  by  mistake,  when  within  ten  days  the 
workmen  and  the  monks  who  had  been  present  all 
died.'''  The  martyrs  themselves  before  their  death 
adjured  the  faithful  not  to  keep  any-  particle  of  their 
ashes.  De  Rossi  has  pointed  out  that  the  inviolabihty 
of  the  martyr's  relics  was  a  discipline  of  the  Western 
Church  not  only  in  S.  Gregory's  time,  but  for  long 
afterwards.  When  Justinian,  in  519,  wrote  a  letter  to 
Pope  Hormisdas  asking  for  relics  of  S.  Laurence  to 
place  in  a  church  he  had  built,  it  is  recited  that  the 
request  for  a  martyr's  bones  was  made  according  to  the 
custom  of  the  Greeks,  "secundum  morem  Graecorum"; 
to  this,  in  the  reply,  was  opposed  the  usage  of  the  apos- 
tolic See,  "  consuetudinem  sedis  apostolicae." 

The  first  mention  we  have  of  the  removal  of  relics 
is  in  the  viii.  century  table  preserved  in  the  Grotte 
Vaticane,  where  Paul  L,  when  depositing  the  bodies  of 
the  martyrs  in  the  church  of  S.  Silvestro,  reserved  some 
relics  of  each,  which  were  placed  by  himself  or  one  of 
his  successors  in  the  Vatican. 

The  "  Apostolic  Constitutions,"  which  are  of  Eastern 
origin,  prove  that  in  some  parts  of  the  East  Christians 
found  it  hard  to  overcome  the  Jewish  repugnance  to 
relics.  Speaking  of  the  passage,  "  He  is  not  therefore 
the  God  of  the  dead,  but  of  the  living,"  the  "  Constitu- 
tions "  say  :  "  Wherefore  of  those  that  live  with  God, 
•  Ep.  30,  lib.  iii. 


INTERIOR  OF  A  CHURCH  43 

even  their  very  relics  are  not  without  honour."  "  And 
chaste  Joseph  embraced  Jacob  after  he  was  dead  upon 
his  bed ;  and  Moses  and  Joshua  the  son  of  Nun 
carried  away  the  rehcs  of  Joseph,  and  did  not  esteem 
it  a  defilement.  Whence  you  also,  O  bishops,  and 
the  rest,  who  without  such  observances  touch  the 
departed,  ought  not  to  think  yourselves  defiled.  Nor 
abhor  the  relics  of  such  persons,  but  avoid  such 
observances,  for  they  are  foolish  "  (book  vi.). 

The  religious  history  of  the  use  of  relics  refers  us  to  Religious 
the  Old  Testament,  4  Kings  xiii.  21,  which  records  ^^^'^°''y  °^ 
that  the  touch  of  the  bones  of  Eliseus  (Elisha)  restored  j-eUc^^^  ° 
a  dead  man  to  life  ;  and  to  Ecclesiasticus  xlix.,  which 
records  that  the  bones  of  Joseph  prophesied.  The 
New  Testament  records  that  handkerchiefs  from  the 
body  of  Paul  healed  the  diseases  of  the  sick  (Acts  xix. 
12)  "  and  the  wicked  spirits  went  out  of  them." 
S.  Augustine  writes :  "  For  even  now  miracles  are 
wrought  in  the  name  of  Christ,  whether  by  His  sacra- 
ments or  by  the  prayers  or  relics  of  His  saints"; 
and  he  relates  ten  miracles  which  he  says  were 
wrought  through  the  relics  of  the  proto  -  martyr 
Stephen  in  his  own  time  {Civitas  Dei).  S.  John 
Damascene  writes :  "  Christ  our  Lord  has  given  the 
relics  of  the  saints  as  health-bringing  fountains."  We 
should  not  refuse  credit  to  such  wonders,  he  says, 
since  we  know  that  water  flowed  from  the  hard  rock, 
and  honey  from  the  jaw  of  the  dead  lion  cured 
Samson.  The  relics  of  saints  are  not  to  be  com- 
pared to  the  dead  bodies  which  defiled  under  the  old 
Law,  for  the  author  of  life  Himself  has  been  inscribed 
among  the  dead,  and  those  bodies  are  not  to  be  called 
dead  which  heal  the  sick,  cleanse  the  leper,  and  make 
the  blind  to  see  {De  Fide  Orthodoxa).  In  this  viii. 
century  passage  is  contained  all  which  ancients  or 
moderns  have  claimed  for  relics.  The  Council  of 
Trent  in  its  xxv'^  Session  defined  that  the  "  Sacred 
bodies  of  the  holy  martyrs,  and  of  others  Uving  with 
Christ,  which  were  His  living  members,  and  the  temple 


44         CHRISTIAN  AND  ECCLESIASTICAL  ROME 

of  the  Holy  Spirit  (i  Cor.  iii.  i6),  and  to  be  by  Him 
raised  to  eternal  life  and  glorified,  are  to  be  venerated 
by  the  faithful." 
Of  what         The  first  Roman  Christians  had  the  relics  of  their 
relics  con-  confessors  and  martyrs  all  round  them ;  they  frequently 
sist.  visited  their  tombs,  they  celebrated  the  hturgy  there, 

and  in  time  burnt  perfumed  oils  at  the  sites.  But 
those  at  a  distance  from  the  holy  city  soon  desired  to 
possess  also  the  bodies  of  the  confessors  of  the  Faith ; 
even  in  the  in.  century  it  is  said  that  a  struggle  took 
place  between  the  Eastern  and  Western  Christians  for 
the  bodies  of  Peter  and  Paul.  When  "relics"  were 
asked  for,  cloths  from  the  bodies  of  the  martyrs  or 
some  instrument  of  their  torture  would  be  sent.  The 
"relics"  which  were  preserved  outside  the  tombs  of 
confessors  in  the  Western  churches,  and  transported 
from  one  place  to  another,  consisted  solely  of  cloths 
coloured  with  their  blood,  or  the  iron  of  their  chains. 
When  the  Gothic  Queen  Theodolinda  sent  to  Rome 
for  relics,  some  of  the  oil  which  burnt  before  the  tombs 
in  the  catacombs  was  sent  to  her  at  Ravenna,  and  was 
Genuine-  regarded  as  a  relic  of  price.  Memorials  of  the  martyrs 
nessoftheand  of  the  sanctuaries  were,  then,  sought  by  those 
relics.  away  from  Rome ;  and  it  is  clear  that,  even  when  the 
common  sentiment  permitted  the  violation  of  tombs,  it 
was  impossible  that  actual  relics  or  parts  of  the  bodies 
of  martyrs  could  be  sent  in  each  case.  The  custom 
was  to  touch  the  tomb  with  cloths,  as  the  actual  body- 
cloths  had  been  preserved  before  the  martyrs'  burial, 
and  send  these  as  relics.  Until  the  tomb  of  S.  Peter 
was  finally  closed  up,  a  long  pole  with  a  handkerchief 
attached  used  to  be  lowered  till  it  touched  the  sar- 
cophagus of  the  Apostle,  and  these  cloths  or  brandea 
were  then  called  "  Cloths  from  the  body  of  S.  Peter. "^'^ 
Theodolinda,  when  she  had  asked  for  a  relic  of  the  two 
Apostles,  indignantly  rejected  such  a  cloth  sent  her  by 
Gregory  the  Great ;  and  he  then,  to  show  that  the 

*  To-day  the  minutest  particle  of  the  ashes,  bones,  or  dress  of 
any  saint  may  constitute  a  relic. 


INTERIOR  OF  A  CHURCH  45 

essential  value  of  a  relic  lay  in  the  dispositions  of  him 
who  received  it,  pierced  the  rejected  cloth  with  a  knife, 
and  it  appeared  covered  with  blood.  This  scene  is 
depicted  in  the  great  mosaic  in  S.  Peter's. 

It  seems  more  than  probable  that,  when  the  early 
custom  and  the  early  sentiment  was  forgotten,  these 
hrandea  should  have  given  rise  to  false  relics  :  a  cloth 
which  was  but  a  bare  memorial,  was  believed  to  have 
been  a  part  of  the  dress,  or  stained  with  the  blood  of 
a  martyr,  and  as  such  wonder-working ;  the  wonder- 
working properties  becoming  of  much  greater  interest 
than  the  relic  in  its  character  of  a  memorial.  Many 
relics  cannot  possibly  be  what  they  are  represented  to 
be,  even  had  they  been  handed  down  by  a  careful  and 
critical  age.  The  absence  of  communication  between 
place  and  place  in  the  middle  ages,  made  it  possible 
for  two  or  three  shrines  to  boast  of  the  same  relic,  and 
the  long  tradition,  the  celebrity,  and  the  pious  associa- 
tions with  such  sites,  have  created  of  these  places 
veritable  sanctuaries  not  to  be  desecrated  by  any  amount 
of  criticism.  The  devotional  visit  must  always  be 
distinct  in  idea  and  in  fact  from  the  historical  visit. 


CHAPTER  IV. 

S.  Peter  in  Rome — The  old  basilica  of  S.  Peter's — The  present  basilica. 

S.  Peter  ACCORDING  to  ancient  tradition,  S.  Peter  made  his 
in  Rome,  first  visit  to  Rome  after  his  miraculous  hberation 
from  the  prison  in  Jerusalem,  namely  about  the  year 
42  A.D.,*  during  the  reign  of  the  Emperor  Claudius; 
and  upon  this  is  founded  the  equally  ancient  tradition 
of  his  twenty-five  years'  episcopate.  An  early  visit  of 
the  Apostle  to  Rome  seems  more  than  probable,  and 
Allardin  his  recent  "  Histoiresdes  Persecutions,"  makes 
this  coincide  in  time  with  his  escape  from  prison,  and 
points  out  that  the  popularity  of  his  miraculous  libera- 
tion as  a  subject  for  the  sculptures  on  ancient  Christian 
sarcophagi  in  Rome  would  point  to  a  near  relation 
between  the  two  events. 

From  the  fact  that  no  allusion  is  made  to  S.  Peter's 
presence  in  Rome  in  the  Acts  or  in  S.  Paul's  Epistle 
to  the  Romans,  we  conclude  that  at  that  date  Peter 
was  certainly  not  in  Rome  ;  but  this  would  not  exclude 
the  possibility  of  a  former  visit,  as  one  may  accept 
Signer  Marucchi'sf  suggestion  that  he  may  have  been 
obliged  to  leave  the  city  under  the  edict  of  Claudius 
for  the  expulsion  of  all  Jews  (a.d.  49). 

In  any  case,  even  if  Peter's  first  visit  to  Rome  under 
Claudius  and  his  twenty-five  years'  episcopate  in  that 
city  have  not  been  established  by  indisputable  testi- 

*  This  is  the  date  also  given  by  S.  Jerome. 

t  Memorie  del  SS.  Apostoli  Pietro  e  Paolo.    Roma,  1894. 


5.  PETER'S  47 

mony  although  maintained  by  unbroken  tradition,  his 
actual  presence  in  Rome,  a  fact  never  doubted  in  the 
first  centuries,  *  is  now  no  longer  disputed  by  modern 
criticism. 

If  not  in  Rome  in  a.d.  58,  Peter  was  probably  in 
the  city  in  64,  the  year  the  great  Neronian  persecution 
commenced,  as  he  alludes  to  it  in  his  Epistle  from 
Babylon,  written  after  that  date,  an  epistle  now  gener- 
ally admitted  to  have  been  written  from  Rome,  as  the 
real  Babylon  was  in  ruins  at  the  time,  while  Babylon 
was  a  common  figurative  designation  of  Rome  among 
the  early  Christians,  being  so  used  in  the  Apocalypse 
(xvii.  5  ;  xviii.  2). 

It  is  impossible  to  believe  that  the  circumstances  S.  Peter's 
and  place  of  Peter's  martyrdom  were  not  well  known  to  martyr- 
the  faithful  of  the  first  centuries,  and  we  find  S.  John      '"■ 
(xxi.  18,  19)  alludes  to  the  manner  of  his  death  as  to 
a  well-known  contemporary  fact.     S.  Clement,  a  dis- 
ciple of  Peter,  makes  allusion  to  his  death  in  Rome  in 
his  letter  to  the  Corinthians,!  written  in  a.d.  96-97. 
Ignatius,!   Bishop   of  Antioch ;    Irenaeus,   disciple   of 
Polycarp  (11.  century)  ;    Caius,§   a  priest  of  the  be- 
ginning of  the  III.  century  (a.d.    200) ;    Dionysius  of 
Corinth  (a.d.  170);  Origen,  Tertullian,|i  and  Eusebius 
— all  writers  of  the  first  four  centuries — bear  testimony 
to  the  foundation  of  the.  Roman  Church  by  Peter,  and 
to  his  death   in    Rome.     The  so-called  "  Apocryphal 

*  No  writer  doubted  Peter's  presence  in  Rome  before  the 
Waldenses  of  the  xiii.  century.  Patavinus  made  the  first 
formal  denial  of  it  in  the  xiv.  century.  Schaff  admits  that 
it  was  not  called  in  question  till  1557  and  1591.  Perrone  points 
out  that  none  of  the  heretics,  schismatics,  or  rivals  of  the  early 
Church  ever  called  the  fact  in  doubt,  although  it  would  have 
been  greatly  to  their  interest  to  do  so. 

f  For  the  discovery  by  Briennius  of  the  text  of  this  letter 
which  is  referred  to  by  Irenaeus  and  Eusebius,  see  Duchesne, 
Les  nouveaux  Textes  de  S.  Clement  de  Rome.     Lyons,  1877. 

\  S.  Ignatii  Epist.  ad  Rom.,  cap.  iv. 

§  Eusebius,  Hist.  Eccles.,  v.  6;  ii.  25. 

II  Tertullian,  De  Pmscriptionibus ,  ch.  xxxvi. 


48         CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Acts,"*  erroneously  ascribed  to  Linus,  and  which  give 
the  Uves  of  the  Apostles  Peter  and  Paul,  were  probably 
compiled  at  a  later  date;  but  they  doubtless  had  an 
historical  basis.  Finally,  monuments  have  existed  from 
the  first  ages  over  the  tombs  of  the  Apostles  in  Rome, 
which  have  been  venerated  in  their  present  position 
through  all  changes  and  vicissitudes,  while  there  is  an 
entire  absence  of  any  notice  of  Peter's  martyrdom  and 
burial  elsewhere. 
Date.  Peter's  martyrdom  is  said  to  have  taken  place  simul- 

taneously with  that  of  S.  Paul  f — probably  in  the  year 
67,  during  the  Neronian  persecutions. |  This  persecu- 
tion was  the  result  of  a  disastrous  fire  that  had  destroyed 
a  great  part  of  the  city,  and  for  this  the  Christians 
were  held  responsible  by  the  Emperor. 
Mamer-  A  tradition,  which  however  did  not  arise  until  the 

tine  v.   century,  asserts  that   S.   Peter,  after  having  been 

prisons.  for  some  months  in  the  Mamertine  prison  at  the  foot 
of  the  Capitol,  was  led  out  with  S.  Paul  to  die.  It  is 
popularly  said  that  they  proceeded  along  the  Via  Ostia 
as  far  as  the  spot  now  marked  by  a  bas-relief  represent- 
ing their  leave-taking,  and  from  there  Peter  was  led 
back  along  the  Via  Triumphalis  to  Nero's  circus.  We 
know  that  as  a  Roman  citizen,  Paul  was  exempt  from 
a  shameful  death  ;  but  it  is  said  Peter  was  crucified, 
and  chose  the  additional  torture  of  being  fastened  to 
his  cross  head  downwards,  that  he  might  show  his  un- 
worthiness  to  suffer  the  same  death  as  his  Master.  ^ 

*  Lipsius,  Acta  Apostolorum  Apocrypha  :  Acta  Petri,  Acta  Pauli. 
1891. 

t  The  Leonine  Sacramentary  gives  the  same  day  for  the  passion 
of  Peter  and  Paul,  but  adds  tempore  discrete  "in  different  years." 
The  statement  occurs  in  one  of  two  texts  of  the  Liber  Pontificalis. 
One  says:  "Post  passionem  domini  anno  xxviii.  martyrio  coro- 
natur,"  and  the  other,  "  Hie  martyrio  cum  Paulo  coronatur." 

+   Vide  Tillemont,  Hist..  Eccles.  I. 

§  Tertullian  :  "  ubi  Petrus  passioni  dominicae  adaequatur." 
Origen  says:  "at  his  own  choice."  Rufinus:  "  Ne  exaequari 
Domino  videretur."  Jerome :  "  with  head  downwards  .  .  . 
asserting  that  he  was  unworthy  to  be  crucified  in  the  same  way 
as  his  Lord." 


S.  PETER'S  49 

Nero's  circus,  his  villa  and  gardens,  were  beyond 
the  Tiber,  and  beneath  the  Janiculum,  in  the  region 
called  Vaticanus.  The  Pons  Tnumphalis,  afterwards 
called  Pons  Vaticanus  led  to  it,  and  the  ruins  of  this 
bridge  can  still  be  seen  in  the  water  by  the  side  of  the 
present  Ponte  S.  Angelo.  Here  was  a  temple  of 
Cybele,  and  many  Etruscan  tombs  we  learn  from 
Pliny. 

In  Nero's  gardens  and  circus  many  Christians  were  Nero's 
martyred,  and  burnt  as  torches  for  the  amusement  of  circus 
the  Emperor,''=  and  here  is  the  traditional  spot  of  Peter's  ^  ^^^ 
crucifixion,  near  the  obelisk  which  stood  in  the  centre 
of  the  circus,  f     This  obelisk  was  the  only  one  which 
remained  standing   through   the   devastations   of  the 
middle  ages,  being  removed  to  its  present  place  by 
Sixtus  V. 

The  circus  occupied  roughly,  the  position  of  the 
present  piazza  of  S.  Peter's,  its  length  parallel  with 
the  basiUca,  and  its  width  occupying  the  space  between 
the  modern  sacristy  and  the  German  Campo  Santo  ; 
the  original  position  of  the  obelisk  is  marked  by  a  slab 
in  the  pavement,  and  the  spot  of  Peter's  martyrdom  .- 
would  correspond  to  the  altar  of  SS.  Simon  and  Jude 
in  the  church. 

Some  writers  believe  Peter  to  have  been  martyred 
on  the  Janiculum  ;  but  this  is  unlikely.  It  is  more 
probable  that  he  suffered  upon  the  same  spot  as  the 
first  Christian  martyrs — in  the  suburbs  of  the  city,  as 
was  usual — and  not  upon  the  Janiculum,  which  was 
within  the  walls  of  Severus,  and  crowned  by  a  fortress. 
The  nauniachia  of  Domitian  mentioned  in  the  "  Acts  "  was 
the  tract  of  marshy  ground  between  the  Vatican  and 
S.  Angelo,  and  here  stood  the  traditional  terebinth-tree. 

After  his  death,  the  body  of  Peter  was  probably  laid 

•  Tacitus,  Annali,  xx.  44. 

t  "  Inter  duas  metas,  sub  Terebintho,  prope  Naumachiam,  in 
Vaticano,  juxta  obeliscum  Neronis  in  monte,  juxta  Palatium 
Neronianum,  in  territorio  triumphali."  The  site  is  so  described 
in  the  "  Acts." 

4 


50 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


in  some  spot  close  by,  and  we  know  from  the  inscrip- 
tions found,  that  a  place  of  burial  existed  near  Nero's 
circus,  and  divided  from  it  by  a  public  road.     A  portion 
Vatican      of  the  cemetery  was  pagan,  but  part  was  possessed 
cemetery,   by  the  Christians,  and  had  probably  already  served 
for  the  victims  of  Nero's  persecution.     The  classical 
style  of  the  inscriptions  from  this  cemetery  shows  it  to  be 
of  the  highest  antiquity,  and  the  representations  of  the 
anchor  and  fish  found  upon  them  have  been  judged  by 
De  Rossi  to  be  some  of  the  earliest  examples  in  exist- 
Two  sar-    ence.     One  of  the  most  ancient  Christian  sarcophagi, 
cophagi      that  to  Livia,  now  in  the  Louvre,  is  marked  with  the 
|?^"P"      Good  Shepherd  and  the  sheep,  between  a  fish  and  an 


LI  VIA  WCARVd 

LIVIAE  PRIKITIVAE 

SO-ROM  FECIT 

V  •  AN  •  xxiiii  •  M  •  vini 

Good  Shepherd  (j. ^T^S-, 

and  2  Sheep  ' 


LIVIA    NICARUS    TO    LIVIA   PRIMITIVA,    HER    SISTER,    WHO    LIVED 
24    YEARS    AND    9    MONTHS. 


anchor ;  and  was  one  of  those  grouped  round  the 
Apostle's  sarcophagus. 

The  following  also  comes  from  here  :  At  the  top  of 
the  stone  is  a  wreath,  and  below  this  D  M.  The  line 
beneath  this  contains  the  Greek  words  : 

ixexc  z&)NTg)N* 

In  the  next  line  is  an  anchor  between  two  fish.  The 
(incomplete)  inscription  to  L  icinia  A  mias  follows.  Icthus 
zontdn,  "icthus  of  the  living,"  i.e.^  the  meat  (fish)  of 
those  who  live,  the  Christian  sign  placed  beneath  the 

*  Found  T870.     Date,  end  of  ii.  or  beginning  of  in.  century. 


S.  PETER'S  51 

pagan  letters  Di  Manibus  (D  M),  alludes  undoubtedly 
tothe  words :  "  He  that  believeth  on  me,  though  he 
die  yet  shall  he  live,"  and  "I  am  the  living  bread  .  .  , 
if  any  man  eat  of  this  bread  he  shall  live  for  ever  " 
(John  xi.  25  and  vi.  51).  De  Rossi  supposes  that,  owing  Grave- 
to  the  nature  of  the  soil,  the  Vatican  cemetery  con-  tombs, 
sisted  of  pits  or  wells,  in  the  walls  of  which  were  cut 
large  loculi.  These  sepulchral  wells  are  very  rare ; 
some  exist  in  the  catacomb  of  S.  Agnes,  four  in  the 
crypts  of  Lucina,  and  a  few  examples  are  found  in 
area  pavements,  on  the  surface  of  the  soil. 

Pope  Anencletus  (gi-io6),  according  to  the  Liber  Cella 
Pontificalis,  constructed  a  sepulchral  monument  over  memoriae 
the  grave  of  the  Apostle  ("  Hie  memoriam  B.  Petri 
construxit  "),  where  he  also  was  to  be  laid,  "  since  he 
had  been  ordained  a  presbyter  by  Peter."  Such  a 
memorial  chamber  {cella  memoria)  above  the  tomb  was 
usual  among  the  Romans,  and  being  a  locus  religiosus, 
although  Christian  was  inviolable  by  Roman  law. 
The  chamber  was  no  doubt  above  ground  in  the  open 
air,  and  visible  to  all ;  for  so  Caius,  the  contemporary 
of  Eusebius,  talks  of  it  in  his  dispute  with  the  Mon- 
tanists  in  the  beginning  of  the  iii.  century — the 
tropaa  apostolorum.  So  does  Eusebius,  in  his  account 
of  the  martyrdom  of  Tranquillinus,  surprised  and 
stoned  while  praying  at  the  tomb  of  Peter. 

The  old  itineraries  of  the  vi.  and  vii.  centuries 
describe  the  tomb  of  Peter,  to  the  west,  near  the 
Via  Cornelia,  at  the  first  mile  ;*  with  the  interesting 
addition  that  at  this  spot  the  Vatican  cemetery 
which  doubtless  grew  round  the  primitive  sepulchres, 
became  the  official  burial  place  of  the  popes  for  the 
first  two  centuries,  the  popes  from  Linus  to  Victor 
(193)  being  buried  here,  after  which  date  the  papal 

*  Also  William  of  Malmesbury:  "Via  Cornelia,  Prima  Porta 
Cornelia  quae  modo  porta  S.  Petri  et  Via  Cornelia.  Juxta  earn 
ecclesia  beati  Petri  sita  est  in  qua  corpus  eius  jacet,  auro  et 
lapidibus  parata.  Etenim  nullus  hominum  scit  numerum  SS. 
MM.  qui  in  eadem  ecclesia  pausant." 

4—2 


52 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Excava- 
tions of 
the 

Vatican 
cemetery. 


cemetery  was  transferred  to  the  Via  Appia  until  the 
Peace  of  the  church,  Leo  I.  (440)  being  the  first  pope 
to  be  again  buried  in  the  Vatican. 

The  position  of  the  tombs  of  the  Apostles  in  Rome 
is  spoken  ®f  by  Optatus  Milevius  in  his  arguments 
against  the  Donatists''=  in  the  iv.  century  :  "  Memoriae 
apostolorum  in  urbe  Roma";  by  S.  Jerome,!  who 
describes  the  tomb  of  Peter  as  venerated  by  all 
Christendom  ;  and  by  Prudentius,];  whose  description 
of  the  tombs  of  both  Apostles  shows  that  they  occupied 
the  same  position  as  now.§ 

Finally,  during  excavations  in  the  xvi.  century 
for  the  foundations  of  the  present  baldacchino  of 
S.  Peter's,  the  remains  of  this  ancient  cemetery  were 
discovered. 

Severano  j  j  and  Torrigio,  eye-witnesses,  give  an  account 
of  the  many  Christian  sarcophagi  then  found.  The 
tombs  of  great  antiquity  were  grouped  closely  together 
in  the  spot  now  marked  by  the  confession  and  high 
altar.  Some  of  the  sarcophagi,  of  terra-cotta,  were 
filled  with  masses  of  burnt  bones,  fragments  of  glass 
vessels  and  cinders,  possibly  the  relics  of  the  martyrs 
of  Nero's  persecution,  gathered  and  buried  here  by  the 
faithful.  In  others,  were  bodies  clothed  in  long  gar- 
ments, or  wrapped  in  crossed  bands,  as  we  see  Lazarus 
represented  on  the  early  Christian  sarcophagi.  Gold 
threads  and  traces  of  embroidery  and  gold  work  were 
still  to  be  detected  in  the  wrappings  of  some  of  the 
bodies,  and  upon  one  sarcophagus  was  the  simple  in- 
scription Linus,  the  Pope  who  according  to  the 
Liber  Pontificalis,  was  buried  by  the  body  of  Peter 
("  juxta  corpus  b.  Petri  in  Vaticano  ").  In  a  sepulchral 
chamber  at  a  still  lower  level,  the  sarcophagus  of  Peter, 
with  the  gold  cross  of  Constantine  upon  it,  was  seen 

*  De  Schismate  Donatistarum,  ii.  2. 
t  De  Scriptoribus  Ecclesiasticis,  cap.  i. 

I  Peristeph,  Hymn  xii. 

§  For  the  evidence  for  the  burial  of  S.  Peter  in  the  Vatican, 
see  Borgia,  Vaticatia  Confessio  B.  Petri.     Rome,  1776. 

II  Le  Setie  Chiese. 


S.  PETER'S  53 

by  Cardinals  Bellarmine  and  Antonianus,  and  by  Pope 
Clement  VI II,,  but  was  again  walled  up,  for  fear  of 
profanation. 

No  vestige  is  visible  of  the  primitive  sepulchre  of  Sepul- 
the  Apostle,  all  trace  having  been  destroyed  by  the  ^^^^  ^^^^ 
buildings  erected  at  a  later  period.  The  sepulchral  p^^gj. 
cell  of  Peter  formed  the  confession  of  the  ancient 
basilica,  and  was,  in  all  probability,  accessible  till  the 
v.  century,  when,  during  the  invasion  of  the  bar- 
barians, it  was  walled  up  for  safety.  Whether  it  was 
accessible  again  at  a  later  date  is  uncertain.  There 
certainly  existed  a  rectangular  well  beneath  the  high 
altar  of  the  older  church,  through  which  the  pilgrims 
could  look  down  into  the  chamber  beneath,  but  all 
was  walled  up  and  entirely  hidden  during  the  Saracen 
invasion  and  sack  of  846,  and  nothing  further  was 
known  of  the  tomb  until  the  excavations  of  1594.  The 
present  floor  of  the  crypt  of  S.  Peter's,  the  so-called 
Grotte  Vaticane,  was  the  pavement  of  the  older  church, 
and  the  sepulchral  chamber  would  thus  be  behind  and 
below  the  altar  of  the  crypt,  some  40  feet  beneath 
the  pavement  of  the  present  church. 

It  is  narrated  in  the  "  Apocryphal  Acts,"  and  also  Removal 
asserted  by  Jerome,  Damasus,  and  Gregory,  and  the  ?{^y^ 
martyrologies   of   the    vii.    century,    that   the    bodies  j^^^^  ° 
of  the   Apostles   were  "removed  from  their  primitive  Apostles, 
sepulchres  and  deposited  upon   the  Via    Appia    In  a 
catacomb.     Tradition  asserts  that  shortly  after  Peter's 
death  the  Eastern    Christians,  who  regarded  him  as 
peculiarly  their  own,  broke  open  the  tomb,  and  carried 
off  the   body,    leaving    Rome   by  the    Appian    Way. 
Three  miles  beyond  the  city  a  storm  of  great  violence 
overtook  them,  and  overcome  with  fear,  they  allowed 
the  Roman  Christians  to  regain  possession  of  the  body 
of  the  Apostle,  which  was  laid  in  a  catacomb  close  by, 
in  the  region  known  as  "  ai  catacumbas."     On  the  other 
hand,  the  calendar  of  Furius  Filocalus  gives  June  29, 
258,  as  the  Deposition  of  Peter  at  the  Vatican  and  Paul 
on  the  Via  Ostia,  and  an  entry  in  the  Liber  PontificaUs 


54         CHRISTIAN  AND  ECCLESIASTICAL  ROME 

asserts  that  the  matron  Lucina  removed  the  bodies 
from  the  catacomb  "  by  night  " — Corpora  apostolorum 
Petri  et  Pauli  de  catacumbas  levavit  noctu.  We  thus 
have  several  conflicting  statements,  which  have  been 
to  a  great  extent  reconciled  by  De  Rossi's  discovery 
at  Berne  of  a  codex  of  the  Hieronymian  martyrology, 
in  which  is  the  following  entry  for  the  third  kalends  of 
July  (June  29) :  Rotnoe  natalis  Petri  et  Pauli  apos- 
tolorum, Petri  in  Vaticano,  Pauli  vero  in  Via  Ostiense, 
utriusque  in  catacumbis  passi  sub  Nerone  Tusco  et  Basso 
consulibus.  "  At  Rome,  on  the  feast  of  Peter  and 
Paul  Apostles — of  Peter  in  the  Vatican,  and  Paul  on 
the  Via  Ostia,  and  of  both  in  the  catacombs  suffered 
under  Nero,  Tuscus  and  Bassus  being  consuls."  This 
passage  should  obviously  read  after  the  word ' '  apostles ' ' : 
"  suffered  under  Nero — of  Peter  in  the  Vatican  and 
Paul  on  the  Via  Ostia,  and  of  both  in  the  Catacombs, 
Tuscus  and  Bassus  being  consuls."  Tuscus  and 
Bassus  were  consuls  in  258,  the  great  year  of  persecu- 
tion under  Valerian,  when  the  cemeteries  of  the  church 
were  confiscated,  and  when  Lucina  may  have  moved 
the  bodies  of  the  Apostles  "by  night  "  from  the  Vatican 
and  the  Via  Ostia  to  the  catacomb  on  the  Via  Appia 
for  greater  safety,  and  not  from  the  catacomb,  as  the 
entry  in  the  Liber  Pontificalis  states.  The  spot 
where  the  bodies  of  the  Apostles  were  laid,  known  as 
Platonia.  Platonia,  is  beneath  the  basilica  of  S.  Sebastian,  and 
was  long  venerated  as  the  temporary  resting-place  of 
the  bodies  of  Peter  and  Paul,  and  is  still  shown  as 
such.  They  lay  here  for  one  year  and  seven  months,* 
and  were  probably  restored  to  the  Vatican  and  the 
Via  Ostia  by  Pope  Dionysius,  the  Christians  having 
been  granted  their  ancient  rights  by  the  Emperor 
Gallienus,  after  Valerian's  death.     Whether  this  was 

•  This  pericxi  is  mentioned  in  one  of  the  Lectiones  for  S.  Peter's 
Day,  used  in  the  French  churches,  also  in  the  "Apocryphal 
Acts."  The  itineraries  of  the  vii.  and  viii.  centuries  give  forty 
years  as  the  period  that  the  bodies  lay  on  the  Via  Appia,  but  the 
authority  for  this  statement  is  unknown. 


S.  PETER'S  55 

the  one  and  only  time  that  the  bodies  were  moved, 
all  the  accounts  referring  to  this  same  period ;  or 
whether  they  were  moved  at  an  earlier  date  also,  soon 
after  the  martyrdom  of  the  Apostles,  is  a  much-dis- 
puted point.  In  any  case,  after  their  final  restoration 
to  the  primitive  sepulchres  in  the  iii.  century,  we  have 
no  record  that  the  tombs  were  ever  again  disturbed. 

Peace  was  finally  restored  to  the  Chuych  by  the  Basilica  of 
Emperor   Constantine,  and  the   unanimous   voice   of  Constan- 
tradition  maintains  that  he  caused  to  be  built  over  the  ti"^- 
tombs  of  the  Apostles  at  the  Vatican  and  on  the  Via 
Ostia  two  magnificent  basilicas,  and  it  is  recounted 
that  he  divested  himself  of  his  robes  and  himself  dug 
twelve  spadesful  of  earth  for  the  foundations  of  the 
great  church  to  be  built  over  Peter's  body.    He  further 
decorated  the  sarcophagi  of  the  Apostles  with  golden  Sarco- 
crosses,  that   upon   the   sarcophagus   of   Peter   bear-  phagus  of 
ing  an  inscription,  in  which   his  own  name  appears  P^ter. 
with  that  of  his  mother   Helena,  but  of  which  part 
only  has   been  preserved  by  Petrus  Mallius.^'-      The 
ancient  basilica  of  S.  Peter's  which  for  its  magnifi- 
cence and  richness  was  the  wonder  of  the  civilized 
world,    was    thus   erected   in    the  iv.    century.      The 
circus  of  Nero  was  in  great  part  destroyed  to  furnish 
materials  for  its  construction,  its  north  wall  serving  as 
a  substructure  for  the  south  wall  of  the  new  church  ; 
and  in  its  destruction  eleven  hundred  years  later  many 
stones  were  found  bearing  the  inscription  '^  Constantimis 
D  NJ"    The  church  was  built  in  the  pure  basilica  form, 
its  exterior  simple  and  unadorned,  as  we  still  see  in  the 
basilicas  of  Rome.      It   was  approached   by  a   wide 
atrium,    surrounded     by     porticoes,    and     measuring 
212  feet  by  235  feet.     Here,  among  other  illustrious  Atrium, 
persons,   were   buried   Conrad   King   of   Mercia,    and 
Offa   of   Essex,  who   came   to    Rome   and   took   the 
cowl,  and  Cadwalla,  King  of  Wessex,  who,  "  forsak- 
ing all  for  the  love  of  God,"  as  we  learn  in  the  in- 

*  See  also  Mecchi,  La  Tomba  di  S.  Pietro  e  V  inscrizione  della 
Croce  d'  Oro.     Roma,  1893. 


56         CHRISTIAN  AND  ECCLESIASTICAL  ROME 

scription  placed  on  his  tomb  by  Sergius  I.  (689),  made 
a  pilgrimage  to  Rome  to  be  baptized,  and  there  died.* 

Steps.  A  flight  of  thirty-five  steps  led  up  to  the  atrium  from 
the  piazza  below.  Pilgrims  ascended  these  upon  their 
knees,  and  it  is  said  that  Charlemagne  did  the  same 
on  his  memorable  visit  in  774.  On  the  wide  platform 
at  their  summit  emperors  were  received  by  the  popes 
before  their  coronation.  Symmachus  (498)  enlarged 
and  restored  these  steps,  and  added  a  covered  portico 
at  either  side  for  the  convenience  of  pilgrims. 

Porticoes.  An  unbroken  series  of  porticoes  or  covered  colon- 
nades united  S.  Peter's  with  the  other  great  basilicas. 
The  portion  from  S.  Peter's  to  the  Ponte  S.  Angelo, 
where  it  was  entered  by  an  imposing  gateway,  was 
called  the  Portico  Maggiore.  Here  it  joined  other  series, 
extending  to  S.  Lorenzo  Fuori,  and  two  miles  beyond 
the  walls  to  S.  Paolo.  The  ruins  of  these  porticoes 
were  still  to  be  seen  in  the  xiv.  century,  and  their 
course  is  marked  by  the  Via  de'Pellegrini,  "  road  of 
the  pilgrims."  These  porticoes,  along  which  we  are 
told  poured  a  continuous  stream  of  pilgrims  day  and 
night,  were  especially  devoted  to  sellers  of  religious 
pictures,  and  objects  of  devotion,  called  Paternostrari, 
and  a  street  in  the  vicinity  of  S.  Peter's  is  still  called 
"  dei  Coronari"  (of  the  Rosaries).  The  practice  still 
prevalent,  of  setting  up  little  stalls  of  cheap  religious 
pictures,  images  and  rosaries  at  the  church  doors  on 
feast-days  may  be  a  relic  of  this  ancient  custom. 

The  precincts  of  old  S.  Peter's  seem  to  have  been 
the  centre  for  the  civic,  mercantile,  and  social  activity 
of  the  Roman  citizen  of  that  day.  Thus  we  learn  from 
contemporary  sources  that  the  piazza  before  the 
church  was  thronged  with  stalls.  Vendors  of  food,  of 
gold  ornaments,  as  well  as  of  objects  of  devotion,  sat 
with  their  wares  even  in  the  atrium  of  the  church. 

Paradisus.  This  atrium  was  commonly  called  Paradisus,  from  its 
having   been  decorated  with   flowers  and  ferns,  and 
we  find  "the  place  of  the  fig-sellers  in  paradise  "  loca 
*  Bede,  Ecclesiastical  History. 


5.   PETER'S  57 

vendentium  ficus  in  paradiso.  There  was  even  a  Jew 
a  seller  of  Syrian  wares,  who  sat  at  his  stall  "  under 
the  image  of  the  Saviour."* 

The  entrance  to  the  atrium  through  bronze  doors 
was  flanked  by  two  columns,  which  now  decorate  the 
fountain  erected  by  Paul  V.  on  the  Janiculum.  Beneath 
the  portico  was  a  marble  statue  of  Peter. 

Pope  Damasus  further  placed  in  the  centre  of  the  Fountain 
atrium  a  magnificent  fountain.     In  its  centre  was  the  of 
huge   gilded   bronze  pine  cone  from   the   summit  of  ^^.masus. 


FOUNTAIN    OF    DAMASUS. 


Hadrian's  mausoleum,  but  which  was  popularly  said 
to  have  come  from  the  roof  of  the  Pantheon,  and  this 
error  led  to  the  name  della  Pigna  being  given  to  that 
whole  district.  Water  is  said  to  have  gushed  through 
openings  in  the  pine  cone.  Above,  was  a  cupola  of 
bronze  upon  columns  of  porphyry.  Water  also  flowed 
from  the  bronze  peacocks,  which  with  the  pine  cone, 
can  still  be  seen  in  the  court  della  Pigna  in  the  Vatican 
palace. 

*  Cens.  Bas.  Vatic,  1384. 


58         CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Doors,  Five   doors   led   into   the   church    itself    from    the 

entrance  court.*  The  central  one  was  the  so-called 
Porta  Argentea,  so  named  from  its  silver  decorations 
of  the  VI.  century.  The  names  of  the  cities  given 
by  Charlemagne  to  the  pope  were  later  inscribed  upon 
these  doors  in  letters  of  silver.  These  were  replaced 
by  Eugenius  IV.  (1431)  by  bronze  doors  which  were 
removed  to  the  modern  church,  and  can  still  be  seen 
at  its  main  entrance.  The  two  doors  on  the  right  of 
the  Porta  Argentea,  were  the  Porta  Romana  for  women, 
and  the  Porta  Guidonea,  or  Pilgrims'  Gate,  so  called 
from  the  guidones,  or  guides  stationed  within  it,  who 
could  speak  the  Lombard  dialect,  and  who  accom- 
panied the  pilgrims.  On  the  left  of  the  central  entrance 
were  the  Porta  Ravignana,  or  Ravennate,  for  the  in- 
habitants of  Trastevere,  called  Ravennati  during  the 
middle  ages,  and  the  Porta  Giudizia,  through  which 
the  bodies  of  the  dead  were  carried.  Near  this  latter 
was  a  small  door  called  the  Porta  Anticha,  which  was 
opened  only  once  in  a  century  at  the  termination 
of  the  jubilee.  It  was  small  and  narrow,  to  remind 
the  faithful  of  the  words  of  Christ,  "  Strive  to  enter  by 
the  narrow  gate."  In  the  pontificate  of  Sixtus  IV. 
(1471)  however,  the  use  of  this  door  was  abandoned 
owing  to  the  casualties  that  occurred  in  the  crowding 
through  it  in  jubilee  years,  and  a  wider  door  was  then 
made,  which  has  since  been  called  the  Porta  Santa. 
Interior  The  old  basilica  which  extended,  roughly  speaking, 

of  old  from  within  the  present  doors  to  just  beyond  the  bal- 
basi  ica.  dacchino,  consisted  of  a  wide  nave  divided  from  the 
^^®'  aisles  by  a  double  row  of  ninety-six  antique  columns 
of  various  orders,  in  capital  and  base,  some  of  marble 
and  some  of  granite.  Two  of  these  which  formerly 
stood  nearest  the  door,  of  rare  African  marble,  cut  and 
shortened,  now  flank  the  main  entrance  to  the  present 

*  For  the  most  ancient  description  of  S.  Peter's,  see  Petrus 
Mallius  Historia  Basilica  aniiqiia  S.  Petri  in  the  Codex  Vat. 
3627  of  the  xn.  century.  Also  that  of  Maphius  Vegius,  Canon 
of  S.  Peter's,  edited  by  the  Bollandists. 


A.  Circus    of 
Nero. 

B.  Obelisk. 

C.  Wall  of  pre- 
sent church. 

D.  Atrium. 

E.  Fountain     of 
Damasus. 

F.  Statue     of 
Peter. 

G.  Nave. 
H.   Aisles. 
1.  Cathedra. 
K.  Confession. 
L.  Tribune. 
M.  Transept. 
N.  Baptistery. 


PLAN    OF    S.    PETER  S. 


6o 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Pave- 
ment. 


Tribune. 


Mosaics. 


portico.  Light  entered  through  arched  windows  in  the 
high  walls  above  the  columns,  showing  the  rough 
rafters  of  the  horizontal  roof.  The  size  of  the  church 
was  395  feet  in  length,  and  212  feet  in  width.  It 
covered  an  area  of  1 14,000  square  feet.  Its  nave  was 
80  feet  across,  twice  the  average  width  of  a  Gothic 
cathedral. 

The  floor  was  paved  with  slabs  of  white  marble 
from  the  circus,  replaced  later  by  a  pavement  of 
marble,  porphyry  and  serpentine,  fragments  of  which 
can  still  be  seen  in  the  crypt. 

The  nave  terminated  in  a  great  semicircular  tribune 
with  throne  and  seats  for  the  clergy.  Of  the  seven 
porphyry  steps  which  led  to  it,  two  remain  in  the  same 
position  to-day.  On  the  arch  of  the  tribune  was  the 
celebrated  mosaic  representing  Constantine  presented 
to  the  Saviour  by  Peter,  and  offering  Him  a  model  of 
the  church  he  had  built.     Beneath  was  the  inscription : 

' '  Quod  duce  te  mundus  surrexit  ad  astra  triumphans 
Hanc  Constantinus  victor  tibi  condidit  aulam." 


Confes- 


The  mosaics  of  the  apse  were  renewed  by  Innocent  III. 
(iigS)  and  finally  demolished  by  Sixtus  V.* 

The  tribune  arch  was  spanned  by  a  beam  upon 
which  was  a  great  cross  between  two  keys,  and  beneath 
hung  the  gigantic  lamp  called  Pharos,!  containing,  it 
is  said,  1,300  lights,  which  was  lit  up  on  Christmas 
Day,  at  Easter,  and  for  the  Feast  of  Peter  and  Paul. 

The  confession  was  reached  by  two  flights  of  steps, 
and  was  surrounded  by  twisted  marble  columns,  eight 
of  which  we  now  see  in  the  loggia  of  relics  in  S.  Peter's, 


*  The  inscription  of  Constantine  in  the  apse  is  still  preserved 
in  the  Einsiedeln  Codex  : 

"  Justitise  sedes  fidei  domus  aula  pudoris 
Haec  est  quam  cernes  pietas  quam  possidet  omnis 
Quae  patris  et  filii  virtutibus  inclyta  gaudet 
Auctoremque  suum  genetoris  laudibus  acquat." 

t  Said  to  have  been  stolen  in  the  Saracen  sack  in  846. 


S.  PETER'S  6i 

and  two  in  the  chapel  of  the  Sacrament.*  Successive 
popes  vied  with  each  other  in  the  decorations  they 
lavished  upon  the  shrine  of  the  Galilean  fisherman. 
The  whole  confession  was  lined  with  silver  by 
Sixtus  III.  (432-440),  and  then  paved  with  silver  by 
Adrian  I.  (772).  A  silver  beam  supporting  silver 
figures  of  the  Apostles  was  replaced  by  a  gold  beam 
and  figures  by  Pope  Zacharias,  while  candelabra,  lamps 
and  crosses  of  gold  and  silver  without  number  were 
presented  to  the  shrine,  even  King  Theodoric  and 
Belisarius  making  valuable  gifts. f 

Pope  Damasus  repaired  the  sepulchral  chamber  of 
the  Apostle  it  is  said,  and  collected  the  water  from 
the  streams  which  intersected  the  Mons  Vaticatius,  to 
feed  a  baptistery  he  built  beside  the  basilica.]:     The 
inscription   which   Damasus  placed   within   the   bap-  Baptis- 
tistery  is  preserved  in  the  crypt  of  S.  Peter's.     Here  tery. 
stood  the  famous  chair  of  Peter,  upon  which  sat  the 
Bishops  of  Rome  to  receive  and  confirm  the  newly 
baptized.  §     So  celebrated  did  it  become  that  the  bap- 
tistery  itself   became    known    as    Cattedra   Apostolica. 
The  .chair  of  Peter,  moved  from  the  baptistery  in  the 
VI.   century,    was   placed   in    various   chapels   and   is 
now  enclosed  in  the  bronze  throne  in  the  tribune  of 
S.  Peter's.     It  is  held  by  tradition  to  be  the  chair  upon  chair  of 
which  Peter  sat,  and  it  is  undoubtedly  one  of  the  most  Peter, 
ancient  thrones  in  existence.  j|     It  is  composed  of  two 
portions,  of  four  legs  of  yellow  oak,  worm-eaten  and 
chipped  by  the  pilgrims  who  carried  away  bits  as  relics, 
and  a  seat  and  back  of  acacia  wood.     This  part  is  of 

*  Said  to  have  been  brought  from  Greece,  but  probably  Roman 
work  of  the  ui.  century.  An  eleventh  column  stands  in  the 
chapel  of  the  Piet^. 

t  The  panels  of  the  shrine  decorated  by  Giotto  can  still  be 
seen  in  the  Stanza  Capitolare  of  S.  Peter's. 

I  The  same  source  to-day  supplies  the  pope's  apartments. 

§  It  is  so  described  by  Optatus  Milevius  in  his  work  against 
the  Donatists,  and  by  Tertullian,  De  Prescript.,  cap.  xxxvi. 

II  It  was  last  shown  in  1867,  when  a  careful  description  was 
given  by  De  Rossi  (BuUetino  for  June  and  July,  1867). 


62         CHRISTIAN  AND  ECCLESIASTICAL  ROME 

another  and  later  period,  and  is  ornamented  with  ivory 
panels  carved  to  represent  the  labours  of  Hercules  and 
the  constellations.  At  the  back  of  the  chair  a  crowTied 
emperor  is  represented,  possibly  Charlemagne,  with 
two  angels.  De  Rossi  conjectures  that  this  acacia 
portion  may  have  been  a  Byzantine  throne  presented 
to  the  Pope  in  the  ix,  century,  and  incorporated 
with  the  older  and  already  existing  chair  of  Peter. 
The  whole  is  in  the  form  of  a  sedan-chair,  or  sedia 
gestatoria,  to  be  carried  upon  the  shoulders  of  four  or 
more  bearers,  a  custom  introduced  by  the  Roman 
senators  in  the  time  of  Claudius. 

In  each  century  additions,  restorations,  and  decora- 
tions were  planned  and  carried  out  by  the  popes. 
Honorius  I.  (625)  covered  the  whole  of  the  basilica 
with  gilt  bronze  tiles  ruthlessly  torn  from  the  temple 
of  Venus  and  Rome.  Gregory  IV.  (827)  adorned  the 
fa9ade  with  mosaics;  Adrian  I.  (771)  added  a  bell 
tower  to  the  side  of  the  atrium  overlaid  with  silver  and 
gold,  the  first  of  the  kind  in  Rome ;  and  Zacharias 
(741)  introduced  the  custom  of  hanging  costly  silken* 
draperies  between  the  columns  of  the  nave,  a  custom 
which  has  come  down  to  us  in  the  Roman  habit  of 
festooning  and  covering  the  nave  pillars  with  crimson 
cloth  and  tinsel  on  feast-days. 
Chapel  of  The  interior  of  the  old  basilica  was  magnificent 
John  VII.  with  gold,  silver  and  mosaic  ;  700  lights  burnt  per- 
petually at  the  fifty-two  altars  and  chapels.  One  of 
the  most  beautiful  and  most  frequented  of  these  was 
the  chapel  of  the  Praesepio,  added  by  John  VII.  (705- 
708).  Of  the  beautiful  mosaic  decoration  of  this  chapel 
we  still  possess  a  few  fragments  in  the  crypt,  a  portion 
in  S.  Maria  in  Cosmedin,  and  in  S.  Maria  Novella  in 
Florence. 
The  Here  John  VII.  placed  the  ancient  picture  of  Christ 

"  Vero-      known  as  the  Veronica,  as  we  learn  from  an  inscription 
nica." 

*  A  manufactory  of  embroidered  stuffs  existed  near  S.  Peter's 
from  the  time  of  Leo  IV.,  and  the  custom  of  dressing  wooden 
dolls  in  rich  draperies  dates  from  this  time  or  earlier. 


S.  PETER'S  63 

Still  extant  and  preserved  in  the  crypt.  The  tradi- 
tional history  of  this  picture  is  as  follows :  Tiberius 
being  afflicted  with  leprosy  heard  of  the  "  miracles 
wrought  by  the  magician  Jesus,"  and  sent  for  Him  to 
cure  his  disease,  but  his  messenger  was  delayed  on 
the  road,  and  only  arrived  in  Jerusalem  to  hear  of  the 
death  of  Jesus.  He  returned  however  to  Tiberius, 
with  the  cloth  of  the  pious  matron  Veronica,  upon 
which  Christ  had  left  an  impression  of  His  face  on 
His  way  to  Calvary.  On  seeing  this,  Tiberius  burst 
into  tears  and  fell  upon  his  face,  and  his  leprosy  w^as 
healed.  Veronica  herself  brought  the  portrait  to  Rome, 
and  upon  her  death  bequeathed  it  to  Pope  Clement. 
This  story  was  believed  as  early  as  the  time  of  Eusebius 
and  Tertullian,  and  the  portrait  was  exhibited  from 
the  VII.  century.  It  was  often  placed  upon  Roman 
coins  with  the  inscription  :  Sanctam  sive  tit  dicunt,  sanctum 
Veronicam,  and  in  a  Bull  of  Eugenius  IV.  it  is  called 
simply  the  Sanctam.* 

Changes  outside  the  basilica  of  S.  Peter's  grew  con-  Vatican 
temporaneously  with  those  within.     Houses,  buildings  township, 
of  every  description  sprang  up  around  it ;  churches, 
convents,  schools,  hospitals  for  the  poor,  houses  and 
baths  for  pilgrims  of  every  nationality,  dwellings  for 
the  clergy,  crowded  round  the  hallowed  precincts,  until 
the  Vatican  district  became  a  populous  little  township. 
The  Lombards  possessed  the  church  of  S.  Maria  in 
Campo   Santo   with   a   burial-ground   round   it ;    the 
English  owned  a  church  and  cemetery,  supported  by 
taxes  raised  for  the  purpose  by  the  King  of  Wessex, 
and  as  their  possessions  and  dwellings  increased,  the 
whole  region  on   the  Tiber  banks  came  to  be  called  Borgo. 
Burgus  Saxonium — town  of  the  Saxons. f 

For  greater  security,  and  as  a  protection  against  the  Leonine 
invasion  of  the  Saracens,  Leo  IV.  enclosed  the  whole  city. 
Vatican  township  within  fortified  walls,  built  by  Saracen 

*  An  antique  chest  was  long  shown  in  the  Pantheon,  in  which 
it  is  said  the  picture  was  once  kept. 

t  Hence  the  present  name  of  this  district,  the  Borgo. 


64         CHRISTIAN  AND  ECCLESIASTICAL  ROME 

captives,  and   it  has  ever  since  been  known   as  the 
Leonine  City.    One  of  the  most  ancient  of  the  buildings 
Templum  within  this  region  was  the  so-called   Templum  Probi, 
Probi.        the  sepulchral  chamber  of  the  Probi,  among  the  first 
of   the   senatorial    families   to   embrace    Christianity. 
Here  were  the  sarcophagi  of  Faltonia  Proba,  and  of 
the  Senator  Probus  who  died  in  395  ;  the  latter  is  in 
the  chapel  of  the  Pieta  in  S.  Peter's  ;  that  of  Junius 
Bassus,  of  another  branch  of  the  same  family,  ob.  358, 
is  in  the  crypt.     Close  by,  Stephen  II.  (752)  erected  a 
S.  Petro-    chapel  to  S.  Petronilla,  in  fulfilment  of  the  promise  to 
nilla.  King  Pepin  that  in  return  for  his  assistance  against 

the  Lombards,  the  body  of  this  saint  should  be  moved 
from  the  catacomb  of  S.  Domitilla'''  to  the  Vatican. 
The  chapel  was  built  within  the  ancient  mausoleum  of 
Honorius,  and  the  sarcophagi  of  that  Emperor,  of 
Valentinian  III.,  and  of  other  members  of  his  family, 
were  walled  up  and  lost  sight  of  until  the  sixteenth 
century.  The  chapel  of  Petronilla  was  placed  under 
the  patronage  of  the  kings  of  France,  and  upon  its 
destruction  their  patronage  was  transferred  to  the  altar 
of  Petronilla  in  the  present  church.  An  ancient  oratory 
of  S.  Andrew  long  did  duty  as  sacristy  to  the  new 
basilica,  and  portions  of  its  mosaics  are  still  preserved 
in. the  modern  building. 

The  Vatican  and  S.  Peter's  were  under  the  protec- 
tion of  Austria,  and  it  was  the  custom  for  the  em- 
perors and  P'rankish  kings  to  pay  a  visit  to  the  shrine 
of  Peter  before  making  their  triumphal  entry  into 
Rome,  an  example  first  set  by  Theodoric  the  Goth. 

As  the  centuries  succeeded  one  another,  pilgrims  of 
every  nationality  and  of  every  grade  flocked  in  thou- 
sands to  visit  the  shrine  of  the  Apostle,  bearing  with 
them  gifts  and  offerings,  so  that  the  Vatican  coffers 
Sackings,  became  filled  with  treasure.  It  is  said  that  the  dona- 
tions of  pilgrims  alone  amounted  to  over  30,400  gold 
florins  yearly.  The  costly  and  magnificent  decora- 
tions of  the  church,  and  the  priceless  objects  of  art 
*  See  Chap.  X. 


S.  PETER'S  65 

which  it  contained,  fell  over  and  over  again  a  prey  to 
the  enemies  of  Rome  and  her  invaders.  The  basilica 
of  S.  Peter  and  that  of  S.  Paul,  although  outside  the 
city  walls,  were  spared  by  the  Goths  when  they  be- 
sieged Rome  in  410  under  Alaric,"  but  they  fell  victims 
to  the  Vandals,  and  were  sacked  by  the  Saracens  and 
the  Lombards,  and  during  the  insurrection  against  Inno- 
cent VII.  (1404),  when  the  archives  were  scattered  about 
the  streets.  The  last  time  was  in  1526,  when  Cle- 
ment VII.  fled  to  the  Castel  S.  Angelo,  and  the  Vatican 
was  given  over  to  pillage  by  the  soldiers  of  Charles  V. 
for  nine  months. 

Of  this  historical  and  magnificent  basilica  of  S. 
Peter's  nothing  now  remains  but  isolated  and  discon- 
nected fragments.  It  lasted  for  1,150  years,  w^hen  the 
walls  began  to  settle  down  on  the  side  where  the 
masonry  of  Nero's  circus  had  been  retained,  and,  judg- 
ing restoration  impossible,  Pope  Nicholas  V.  deter- 
mined upon  the  construction  of  a  new  church. 

New  S.  Peter's  was  begun  in  1450,  but  176  years  New 
elapsed  before  it  was  completed  and  finally  consecrated  S.  Peter's, 
by  Urban  VIII.  in  1626  ;  a  period  extending  over  the 
reigns  of  forty-three  popes,  and  during  which  at  least 
ten   architects   were  in    succession   employed  on  the 
work.     The  first  design  for  the  new  basilica  was  by  Rosse- 
Rosselino,  a  Florentine,  and  was  that  of  a  Latin  cross  lino's 
planned  on  so  colossal  a  scale  that  the  choir  and  tran-  design, 
septs  would  have  enclosed  the  old  church.     This  pro- 
ject  was  brought  to  an  end  when  the  walls  of  the 
tribune   were   but  a  few  feet  high,  by  the   death  of 
Nicholas  V. ;  and  his  successor  Paul  II.  did  nothing 
to  further  the  work.     It  was  resumed  almost  fifty  years 

*  A  story  is  told  of  the  Goths  coming  upon  the  dwelling  of  an 
old  woman  who  had  devoted  her  life  to  the  service  of  the  altar. 
When  her  house  door  was  forced,  she  showed  them  a  store  of 
treasure,  the  "consecrated  vessels  belonging  to  S.  Peter,"  and 
warned  the  barbarians  against  the  sacrilege  of  touching  them. 
Alaric  commanded  that  all  should  be  carried  to  the  basilica  of 
S.  Peter. 

5 


66 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


later  by  Julius  II.,  who  thought  that  a  church  built 
upon  so  magnificent  a  scale  would  be  an  appropriate 
spot  in  which  to  place  the  huge  mausoleum  being 
then  constructed  by  Michael  Angelo  for  his  ashes. 

Bramante.  The  work  was  resumed  ah  initio  in  1506,  and  Bra- 
mante  was  chosen,  from  other  competitors,  as  archi- 
tect. His  design,  with  those  of  his  rivals,  may  still  be 
seen  in  the  Uffizi  gallery  at  Florence.  He  began  by 
pulling  down  Rosselino's  walls,  as  he  intended  to  build 
an  immense  dome  similar  to  that  of  the  Pantheon, 
supported  upon  four  pillars,  around  which  should  be 
three  tribunes,  each  tribune  being  surmounted  by  a 
cupola,  a  plan  that  has  been  adhered  to  in  the  main 
by  subsequent  architects.  Julius  H.  laid  the  founda- 
tion stone  of  this  new  building  in  1506,  where  we  now 
see  the  statue  of  S.  Veronica,  and  the  work  thus  begun 
was  continued  by  his  successor  Leo  X.,  but  not  with- 
out various  vicissitudes  and  changes  of  design  and 
plan. 

In  15 14  Bramante  died,  after  having  completed  the 
four  piers  of  the  dome  and  the  transept  arches,  and  he 

Raphael,  was  succeeded  as  architect  by  Raphael,  who  drew  out 
new  plans,  but  dying  in  1520,  was  able  to  do  little 
more  than  strengthen  the  work  already  begun.     After 

Peruzzi.  his  death,  Baldassare  Peruzzi"''  was  called  in,  who 
changed  the  design  to  that  of  a  Greek  cross.  The 
work  received  a  check  upon  the  death  of  Leo  X.,  and 
under  his  successors,  Adrian  VI.  and  Clement  VII., 
Peruzzi  was  able  only  to  complete  the  tribune. 

In  1534  Paul  III.  became  Pope,  and  upon  the  death 

Sangallo.  of  Peruzzi,  in  1536,  Antonio  Sangallof  was  appointed 
architect  of  the  building.  Sangallo  retained  the  plan 
of  a  Greek  cross,  and  made  a  complete  model  of 
the  church  he  proposed  to  build,  which  is  still  pre- 
served. His  design  would  have  avoided  many  of  the 
obvious  defects  of  the  actual  St.  Peter's,  although  it 
was  severely  criticised  at  the  time  for  being  too  Gothic 
in  style.  He  died  before  his  plans  could  be  carried 
*  Lived  from  1481-1536.  t  1470-1546. 


S.  PETER'S  67 

out,  and  his  successor  Giulio  Romano,*  took  up  the  Giulio 
work,  but  died  in  the  same  year,  Romano. 

In  1546  Paul  III.  called  in  Michael  Angelo,f  then  Michael 
in  his  seventy-second  year.  Being  offered  so  many  Angelo. 
thousand  ducats  on  the  completion  of  the  work,  he 
replied  that  he  would  take  no  payment,  but  would  do 
it  "  for  the  love  of  God,  the  Blessed  Virgin,  and  S. 
Peter,"  and  his  plans  were  out  in  fifteen  days.  It  is 
probable  that  Michael  Angelo  was  unable  to  alter  very 
materially  the  plans  of  his  predecessors ;  but  he  per- 
severed in  the  work,  in  spite  of  discouragements, 
intrigues  and  jealousies,  and  changes  in  the  administra- 
tion, which  more  than  once  threatened  to  drive  him 
in  despair  from  the  task  he  had  undertaken,  and  bring 
the  work  entirely  to  an  end.  He  enlarged  the  tribune 
and  transepts,  and  strengthened  the  piers,  and  con- 
structed the  dome  upon  a  new  plan.  "  On  that  Greek 
cross,"  he  said,  "  I  will  throw  up  into  the  sky  the 
Pantheon."  The  drum  was  finished,  with  drawings 
and  plans  for  the  completed  dome,  w^hen  Michael 
Angelo  died  in  1564,  at  the  age  of  eighty-nine  ;  and 
from  this  time  for  twenty-four  years  the  building  was 
neglected,  and  left  exposed  to  the  effects  of  wind  and 
weather. 

Finally,   in    1590,    the    dome    was    completed    by  Giacomo 
Giacomo     della     Porta;]:     during    the    pontificate    of^®'^^ 
Sixtus  v.,  although   it   had   to   be   more   than   once  ^°^^^- 
strengthened  at  a  later  date.     Up  to  this   time   the 
plans  of  Michael  Angelo  had  been  carefully  adhered 
to.     The  fa9ade  and  portico  yet  remained  to  be  finished, 
and   the   latter  was  to  have  been  after  the  style  of 
Agrippa's   portico  to  the   Pantheon,  with  ten  pillars 
standing  free  from  the  fa9ade,  and  a  second  row — more 
forward — of  four  pillars.     This  design,  with  the  church 
in  the  form  of  a  Greek  cross,   would  have  rendered 
the  whole  dome  visible  from  the  piazza,  and  its  great 
size   and    height    would    have    been    more   apparent. 
Fontana  proposed  some  alterations  of  this  portico,  but 
*  1492-1546.  t  1475-1564  +  1541-1604. 

5—2 


68         CHRISTIAN  AND  ECCLESIASTICAL  ROME 

nothing  was  done  towards  its  completion  until  the 
Maderno.  pontificate  of  Paul  V.,  who  employed  Carlo  Maderno/'^ 
a  very  inferior  architect,  upon  the  death  of  Delia  Porta, 
in  1604,  and  Michael  Angelo's  design  was  finally 
abandoned. 

The  original  design  of  a  Latin  cross  was  adopted, 
the  nave  was  prolonged,  and  the  present  fa9ade  and 
portico  built,  to  which  latter  great  objection  has 
always  been  taken  from  its  heaviness  and  want  of 
proportion.  By  Michael  Angelo's  design,  part  of  the 
ground  covered  by  the  old  basilica,  containing  the 
tombs  of  many  popes  and  hallowed  by  many  memories, 
would  have  been  left  outside  the  new  building.  His 
proposed  nave  was  also  not  considered  large  enough 
for  the  immense  gatherings  of  the  faithful  to  be  held 
in  this,  the  greatest  of  Christian  churches ;  and  finally, 
no  provision  had  been  made  by  him  for  the  papal 
benediction,  urhis  et  orbis  ;  and  these  considerations  led 
to  the  abandonment  of  Michael  Angelo's  design,  and 
the  completion  of  the  church  as  it  now  stands. 

Paul  V.  had  the  remaining  portions  of  the  old 
basilica  pulled  down.  The  nave,  portico  and  fa9ade 
were  finished  in  1614,  and  the  basilica  was  finally 
consecrated  by  Urban  VIII.  on  November  18,  1626, 
on  the  1300th  anniversary  of  the  day  when  Pope 
Sylvester  is  said  to  have  consecrated  the  original 
church. 

Bernini  added  the  piazza,  with  its  circular  colon- 
nades and  its  fountains  in  1667,  and  the  sacristy  was 
erected  in  the  pontificate  of  Pius  VI.,  in  1780. 

The  cost  of  the  building  amounted  to  ^10,000,000, 
and  it  was  to  meet  this  enormous  expense  that 
Julius  II.  and  Leo  X.  resorted  to  the  sale  of  in- 
dulgences, which  through  the  evil  zeal  of  Tetzel 
produced  so  immense  a  scandal  in  Germany,  and 
became  one  of  the  causes  of  the  religious  movements 
of  that  century. 

The  great  church  of  St.  Peter's  was  unfortunately 
•  1556-1629. 


S.  PETER'S  69 

built  at  a  period  when  architecture  was  in  a  bad  and 
transitional  state ;  when  the  classical  ideal  and  the 
Gothic  influence  were  warring  against  each  other. 
And  although  the  best  architects  of  the  time  were 
employed  in  its  construction,  although  no  money  was 
spared,  and  although  the  best,  as  well  as  the  most 
costly  and  beautiful  materials  were  used  in  its 
decoration,  it  is  full  of  the  most  obvious  defects,  and 
has  always  been  subjected  to  the  most  severe  criticism. 

The  great  beauty  of  the  dome  rising  from  the  centre  Exterior, 
of  the  three  tribunes  of  the  west  end  cannot  be 
adequately  appreciated  owing  to  the  flatness  of  the 
roof  around  it,  which  does  not  allow  its  base  to  be 
seen,  except  from  a  considerable  distance,  and  this 
defect  is  of  course  increased  by  the  prolongation  of 
the  nave. 

The  exterior  decoration,  which  consists  of  gigantic 
pilasters  of  Corinthian  order  placed  at  intervals,  has 
been  much  criticised.  The  pilasters  are  obviously 
useless  and  meaningless,  and  the  profusion  of  niches, 
and  the  three  or  four  tiers  of  windows  between  each, 
with  their  indifferent  ornamentation,  gives  the  whole 
the  appearance  of  a  palace,  and  not  of  a  church. 

The  gigantic  pilasters  are  also  found  in  the  interior, 
and  in  the  nave  are  obviously  too  high  for  the  height 
of  the  vaulting,  and  give  a  clumsy  and  dispropor- 
tionate appearance  to  the  whole.  The  pilasters  were 
designed  bj"-  Bramante,  but  as  he  intended  to  introduce 
five  arches  on  each  side  of  the  nave,  with  lighter  piers, 
they  would  not  have  been  so  objectionable.  The 
present  enormous  pilasters — 40  feet  in  width — sup- 
porting the  four  huge  arches  of  the  nave  are  due  to 
Carlo  Maderno.  Nothing,  however,  can  mar  the  ex- 
ceeding impressiveness  of  the  dome,  with  its  great 
beauty  of  size  and  proportion,  rising  from  the  pave- 
ment to  a  height  of  333  feet  in  the  centre  of  the  cross 
formed  by  the  intersecting  of  the  four  great  vaults  of 
the  nave,  tribune,  and  transepts,  each  vault  50  feet 
wide  by  150  in  height. 


70         CHRISTIAN  AND  ECCLESIASTICAL  ROME 

In  spite  of  all  defects  of  style,  taste,  and  architecture, 
it  is  impossible  not  to  feel  that  S.  Peter's  is  impressive 
in  the  grandevir  of  its  proportions  and  the  magnificence 
of  its  decoration,  nor  to  believe  it  unworthy  of  its  place 
as  the  greatest  of  Christian  churches.  It  is  designed 
as  a  great  gathering-place  for  the  Christians  of  the 
world — to  represent  Catholicity  in  its  extensive  sense  as 
it  were — rather  than  as  the  mystic  home  of  personal 
devotion,  and  must  be  so  judged  and  appreciated. 
Size.  To  clean  and  keep  this  great  church  in  repair,  now 

costs  annually  about  ;^7,ooo.  Its  internal  length  is 
613  feet,  the  height  of  the  nave  152  feet,  breadth  87 
feet ;  diameter  of  the  dome  1 39  feet — three  feet  less 
than  that  of  the  Pantheon ;  exterior  height  of  the 
dome  405  feet  (without  the  cross).  It  covers  240,000 
square  feet  of  ground,  or  about  six  acres.  The  relative 
lengths  of  the  following  churches  are  marked  on  a  slab 
in  the  nave : 

S.  Paul's,  London,  520  feet. 

Duomo  at  Milan,  443  feet. 

S.  Paolo  Fuori,  419  feet 

S.  Sophia,  360  feet. 

S.  Peter's  is  open  from  early  morning  until  dark.  A 
certain  number  of  attendants,  in  dark-purple  liveries, 
are  always  on  duty  in  the  church.  These  men  are 
known  as  sampietrini. 

Piazza.  We  now  approach  S.  Peter's  by  the  great  piazza  with 

its  double  colonnades.  Its  centre  is  adorned  by  the 
obelisk  from  Nero's  circus,  upon  the  pedestal  of  which  we 
read:  "  Christus  vincit.  Christus  regnat.  Christus  im- 
perat.     Christus  ab  omni  malo  plebem  suam  defendat." 

Obelisk.  The  story  runs  that  while  this  obelisk  was  being  reared 
into  position  with  infinite  difficulty,  by  means  of  horses 
attached  to  it  by  ropes,  the  anxiety  and  suspense  were 
so  great,  that  absolute  silence  was  enforced  upon  all 
present  upon  pain  of  instant  death.  At  the  most 
critical  moment  the  ropes  began  to  yield,  and  a  young 


S.  PETER'S  71 

sailor  from  Bordighera  named  Bresca  shouted  out  in 
spite  of  the  prohibition  that  water  should  be  thrown 
upon  them.  This  was  done,  and  the  obelisk  safely 
drawn  into  position  ;  and  as  a  reward  for  this  timely 
service,  the  Bresca  family  was  given  for  ever  the 
privilege  of  supplying  S.  Peter's  with  palms  for  the 
ceremonies  of  Palm  Sunday.  This  incident  is  depicted 
in  fresco  in  the  Vatican  library. 

A  flight  of  easy  steps  lead  from  the  piazza  to  the 
church,  at  the  base  of  which  are  two  modern  statues 
of  SS.  Peter  and  Paul,  placed  in  this  position  by 
Pius  IX.  As  in  the  old  basilica,  five  entrances  lead 
into  the  vestibule  of  the  church.  Over  the  main  Vestibule 
entrance,  inside,  is  a  mosaic  by  Giotto,  unfortunately  Giotto's 
much  retouched  and  repaired,  representing  the  Saviour  mosaic, 
walking  upon  the  waves ;  the  head  at  His  feet  is  a 
portrait  of  Cardinal  Giacomo  Stefaneschi.  This  mosaic 
was  removed  here  from  the  outer  court  of  old  S.  Peter's, 
and  is  said  to  have  been  first  placed  in  that  position 
for  the  benefit  of  the  Eastern  Christians,  who  were  in 
the  habit  of  paying  superstitious  rites  to  the  rising 
sun,  and  whose  thoughts  were  by  its  means  to  be 
diverted  into  better  channels.  S.  Carlo  Borromeo  who 
was  in  the  habit  of  visiting  the  shrine  of  Peter  every 
day  for  twenty  years,  used  to  kneel  here  on  entering, 
and  pray  to  be  saved  from  death  in  the  waters  of  sin, 
as  S.  Peter  was  saved  from  the  waves. 

The  present  vestibule  is  468  feet  long  by  50  feet 
wide,  and  66  feet  high.  On  the  right  is  an  equestrian 
statue  of  Constantine  by  Bernini,  not  seen  from  here 
unless  the  doors  into  the  Scala  Regia  are  open  ;  on 
the  left,  one  of  Charlemagne  by  Cornacchini.  Above 
.  the  cornice  are  statues  of  all  the  popes  up  to  the  time 
of  the  building  of  the  present  church.  The  inscrip- 
tions built  into  the  walls  were  removed  from  the 
outer  court  of  the  old  basilica.  One  records  the  gift  by 
QrQaOvy  II.  of  certain  olive  plantations  for  the  supply 
of  oil  for  the  church  lamps.  Another  is  a  copy  of  a 
•gij]]  of  Boniface  VIII.  (1294),  in  which  indulgences 


72         CHRISTIAN  AND  ECCLESIASTICAL  ROME 

are  granted  for  the  jubilee  year  of  1 300  ;  and  upon  the 
third,  are  the  lines  written  by  Charlemagne  in  honour 
of  Adrian  I. 

Five  doors  lead  from  the  vestibule  into  the  church, 
corresponding  to  the  five  entrances  into  the  latter. 
The  one  on  the  extreme  right,  walled  up,  is  the  so- 
called  Porta  Santa,  opened  originally  once,  now  four 
times  in  a  century.* 

Doors.  The  bronze  doors  in  the  centre  were  executed  by 

order  of  Eugenius  IV.  (1431-1447),  in  imitation  of  the 
beautiful  bronze  doors  of  the  baptistery  in  Florence. 
They  were  made  from  the  designs  of  the  Florentine 
workers  Filarete,  and  Simone  Baldi  brother  of 
Donatello.  These  doors  which  took  twelve  years  to 
make,  are  divided  into  three  panels.  The  bas-reliefs 
upon  the  frame-work  represent  mythological  subjects 
in  odd  contrast  to  those  of  the  panels.  In  these,  above 
are  represented  the  Virgin  and  Christ,  below  S.  Paul, 
and  S.  Peter  presenting  the  keys  to  Pope  Eugenius  IV., 
below  again  the  martyrdoms  of  S.  Peter  and  S.  Paul. 
Upon  the  destruction  of  the  old  church  these  doors 
were  removed  to  their  present  position,  with  additions 
in  inferior  bronze  to  make  them  the  necessary  height. 
The  black  wooden  doors  on  either  side  are  said  to 
have  been  made  from  the  timber  planks  of  the  old 
basilica. 

Interior.  Immediately  within  the  doors  is  an  immense  circular 
porphyry  slab  in  the  pavement,  upon  which  it  is  said, 
the  emperors  were  formerly  crowned. 

Roof.  The  tunnelled  ceiling  of  the  nave  and  bays,  coffered 

and  gilded,  is  due  to  Bramante,  although  carried  out  by 
Carlo    Maderno.      A  difference   in   the  width  of  the 
roofing  can  be  detected  above  the  third  pier,  marking ' 
the  point  where  the  latter  architect  altered  the  original 
plan  by  prolonging  the  nave. 

Nave.  The  nave  is  divided  from  the  aisles  by  four  great 

piers    faced    with    Corinthian    pillars,    which    extend 
beyond  the  spring  of  the  arches  to  the  vaulting  of  the 
*  See  p.  58. 


S.  PETER'S  73 

roof.  The  entablature  is  richly  gilded.  The  facings 
of  the  pillars  are  of  stucco,  but  with  few  exceptions, 
the  whole  of  the  interior  of  the  church  is  lined  wdth 
marble. 

The  pavement,  designed  by  Giacomo  della   Porta  Pave- 
and  Bernini,  is  entirely  of  marble.     In  the  niches  of  ment. 
the  pilasters  of  the  nave  are  colossal  statues  of  all  the 
founders  of  religious  orders ;  the  statues  are  modern,  Statues  of 
and  have  no  artistic  merit.     The  series,  which  is  con-  founders 
tinned    round    the    tribune    and    transepts,    with,    in  of  orders, 
some  places,  an  additional  row  above,  commences  on 
the  right  with  the  statue  of — 

1.  S.  Theresa,  founder  of  the  reformed  Order  of  the  Discalced 

CarmeHtes,  in  the  niche  of  the  first  pillar. 

2.  S.   Vincent  de  Paul,   founder  of  the   Daughters  of  Charity 

and  of  the  Congregation  of  Missions. 

3.  S.  Philip  Neri,  founder  of  the  Oratorians. 

Turning  to  the  right  into  the  transept  the  series  con- 
tinues with — 

4.  S.  Caetano,  founder  of  the  Clerks  Regular. 

5.  S.  Jerome  ^Emilian,  founder  of  the  Somaschi. 

6.  S.  Joseph   Calasanctius,  founder  of  the  Clerks  Regular  of 

the  Pious  Schools  {Scolopii). 

7.  S.  Bruno,  founder  of  the  Carthusians. 

In  the  tribune  are  8  figures  : 

8.  Elias  the  prophet,  founder  of  the  Universal  Order  of  Mount 

Carmel. 

9.  S.  Dominic,  founder  of  the  Order  of  Preachers. 

10.  S.  Francis,  founder  of  the  Friars  Minor. 

11.  S.  Benedict,  founder  of  the  Congregation  of  Monte  Cassino. 

Over  these  are  : 

12.  S.  Francis  de  Sales,  founder  of  the  Nuns  of  the  Visitation. 

13.  S.  Francis  Caracciolo,  founder  of  the  Clerics  Minor. 

14.  S.  Alphonsus  Liguori,  founder  of  the  Redemptorists. 

15.  S.   Francesca  Romana,   founder  of  the  Oblates  of  Tor  de' 

Specchi. 

Following  the  series  into  the  left  transept,  we  find : 

16.  S.  Juliana  Falconieri,  founder  of  the   third   Order  of  the 

Servites  of  the  Blessed  Virgin. 


74 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


17.  S.  Angela  Merici,  founder  of  the  Ursulines. 

18.  S.  Norbert,  founder  of  the  Premonstratensian  canons  of  the 

Augustinian  rule. 

19.  S.  Guglielmus,  abbot  and  founder  of  the  Monastery  of  the 

Virgin  on  the  mount  of  that  name. 

20.  S.   Peter   Nolasco,   founder  of  the   Order  of  Our   Lady  of 

Mercy  for  the  Redemption  of  Captives. 

21.  S.  John  of  God,  founder  of  the  Hospitaller  Orders. 

Turning   back  into  the  nave,  and  descending   the 
church  on  our  right,  we  come  to — 

22.  S.  Francis  of  Paula,  founder  of  the  Order  of  Minimites. 

23.  S.  Ignatius,  founder  of  the  Society  of  Jesus. 

24.  S.  Camillusof  Lellis,  founder  of  the  Clerics  Regular,  Ministers 

of  the  sick. 

25.  S.  Peter  of  Alcantara,  restorer  of  the  ancient  spirit  of  the 

Order  of  S.  Francis. 


Bronze  On  the  right  of  the  nave  against  the  last  pier  is  the 

statue  of  celebrated  bronze  sitting  statue  of  Peter,  beneath  a 
^*®^'  canopy.  The  origin  of  this  statue  is  unknown.  It 
used  to  stand  in  the  monastery  of  S.  Martin,  in  the 
Vatican  precincts,  and  was  there  venerated  in  the 
VI.  century.  It  has  been  asserted  that  it  was  made 
from  the  molten  bronze  of  the  great  Capitoline  Jupiter, 
or  that  it  was  itself  an  image  of  Jupiter,  but  modern 
archaeologists  consider  it  to  be  of  Christian  origin,  and 
to  be  probably  of  the  v.  century.  It  was  quite  pos- 
sibly made,  as  tradition  states,  by  order  of  Leo  I. 
(440)  in  thanksgiving  for  the  deliverance  of  Rome 
from  Attila.  It  was  placed  in  its  present  position  by 
Paul  V.  The  foot  of  this  image  has  been  partly  worn 
away  by  kisses. 
Dome.  Beyond  rises  the  great  dome,  supported  upon  its  four 

gigantic  piers  253  feet  in  circumference.  The  height 
of  the  dome  is  405  feet,  448  feet  including  the  cross. 
In  the  niches  of  the  four  piers  are  four  colossal  figures, 
16  feet  in  height — S.Veronica,  by  Mochi ;  S.  Andrew, 
by  Fiammingo ;  S.  Helena,  by  Bolgi ;  and  S.  Lon- 
Balconies  ginus,  by  Bernini.  Above  are  four  balconies,  from 
of  the        two  of  which  the  four  major  relics  are  exposed  upon 

relics.         certain  days  of  the  year.     The  relic  of  the  Veronica 
Veronica.  •'  •' 


S.  PETER'S  75 

has  been  already  described.'''    The  sacra  lancia,  or  lance  Sacra 
with  which  our  Lord's  side  was  pierced,  is  said  to  have  lancia. 
been  found  in  Jerusalem  by  Helena,  and  transferred 
to  Constantinople  in   the  vi.   century,   where  it  was 
kept  in  two  parts.     One  portion  was  sent  in  1492  by 
Bajazet,  master  of  the  city,  as  a  gift  to  Innocent  VIII., 
and  was  placed  in  a  chapel  built  in  the  niche  where 
now  stands  the  statue  of  Longinus.     It  is  now  kept 
with  the  Veronica,  and  they  are  always   shown  to- 
gether.    The  third  relic,  that  of  the  true  cross,  was  Relic  of 
encased  in  a  silver  reliquary  by  Urban  VIII.,  who  the  cross, 
united  portions  kept  at  S.  Crocef  and  in  S.  Anastasia. 
The  fourth  relic,  the  head  of  S.  Andrew,  enclosed  in  Head  of  S. 
silver,  is  shown  on  the  eve  and  feast  of  this  Apostle,  j  Andrew. 
Besides   the   ordinary   exposition,    the    favour  of    in- 
specting these  relics  has  been  granted  to  sovereigns 
on  three  or  four  occasions  by  special  indult  of  the  Pope. 
The  person  so  favoured  must  be  first  created  super- 
numerary canon  of  S.  Peter's,  and  must  wear  canon's 
dress.     Frederick  III.  was  granted  this  privilege  by 
Nicholas  V.  ;    in    1656  the  veil  and  lance  were  shown 
to  Queen  Christina  of  Sweden  in  the  vestibule  of  the 
church,  and  in   1717  the  Pretender  was  shown  them 
in  the  same  place  by  Clement  IX.     Two  separate  keys 
are  kept  of  the  reliquary  by  two  canons. 

Above  the  balconies  are  representations  of  the  four 
Evangelists  in  mosaic,  and  upon  the  frieze  beneath 
the  dome  the  inscription  in  mosaic  upon  a  gold 
ground :  '  Tu  est  Petrus  et  super  hanc  petram  aedifi- 
cabo  ecclesiam  meam  et  tibi  dabo  claves  regni 
coelorum.'  The  letters  are  4  ft.  8  in.  high,  and  the  pen 
in  S.  Luke's  hand  7  feet.  The  surface  of  the  cupola 
is  divided  into  compartments,  and  the  whole  is  deco- 
rated with  mosaics,  those  below  representing  Christ, 
the  Madonna,  and  the  Apostles. 

Immediately  beneath  the  centre  of  the  dome  is  the 
high   altar,  at  which   the    Pope  alone   can   celebrate 

*  See  p.  62.  t  See  p.  142,  and  Part  II.  chap.  5. 

I  See  p.  180. 


76         CHRISTIAN  AND  ECCLESIASTICAL  ROME 

mass,  or  a  cardinal  or  other  prelate  especially  appointed. 

Baldac-      Above  it  is  the  great  haldacchino,  or  canopy  of  bronze. 

chino.  Many  designs  for  a  haldacchino  were  considered  before 
the  present  was  finally  decided  upon.  One  design, 
rejected  on  account  of  its  enormous  weight  and  size, 
was  to  place  a  figure  of  Christ  upon  the  globe,  sup- 
ported upon  the  four  Evangelists  as  pillars.  The 
present  one,  designed  by  Bernini,  is  95  feet  in  height, 
and  weighs  some  92  tons.  The  bronze  for  its  con- 
struction and  for  that  of  the  figures  in  the  tribune  was 
recklessly  stripped  from  the  Pantheon  roof  by  order  of 
Urban  VIII.,  and  gave  rise  to  the  popular  saying: 
'  Quod  non  fecerunt  Barbari  fecerunt  Barberini.'  It 
was  executed  during  the  pontificate  of  that  Pope,  and  a 
portion  of  the  funds  was  contributed  by  a  Princess 
Barberini  of  that  time,  whose  portrait  Bernini  has 
introduced  in  the  faces  of  the  cherubs,  while  the  bees 
from  the  Barberini  coat-of-arms  occur  frequently  in 
the  decoration  of  the  columns. 

Confes-  The  confession  in  front  of  the  high  altar  is  reached 

sion.  by  two  flights  of  marble  steps,  and  is  surrounded  by  a 

marble  balustrade,  upon  which  ninety -three  lamps 
burn  night  and  day.  At  the  foot  of  the  steps  are 
some  beautiful  alabaster  pillars  from  the  golden  house 
of  Nero,  while  in  the  centre  of  the  confession  is  a  fine 
kneeling  figure  of  Pius  VI.  by  Canova. 

Immediately  beneath  the  high  altar  are  bronze 
doors  enclosing  a  niche  decorated  at  the  sides  by  two 
mosaics  of  Peter  and  Paul  from  designs  of  Michael 
Angelo ;  at  the  back,  an  ancient  representation  of 
Christ  in  mosaic  from  the  older  church.  In  the  centre 
of  the  niche  is  a  gold  coffer,  by  Benvenuto  Cellini, 
in  which  are  kept  the  archbishops'  pallia.  Here,  also, 
is  an  ancient  sarcophagus,  said  to  have  been  that  one 
in  which  the  body  of  Peter  was  laid  in  the  catacomb 
on  the  Via  Appia,  and  the  spot  is  pointed  out  as  being 
immediately  above  the  tomb  of  Peter,  although  in  the 
excavations  of  1594  the  sepulchral  chamber  was  seen 
at  a  spot  further  back  and  to  the  left  of  this. 


S.  PETER'S  77 

Before  the  interior  of  S.  Peter's  was  completed, 
there  was  considerable  doubt  as  to  how  adequately  to 
fill  the  tribune  end,  and  the  story  runs  that  Bernini,  Tribune, 
when  quite  a  young  man,  heard  it  said  that  only  a 
genius  could  solve  the  problem,  and  had  wished  him- 
self that  genius.  Some  years  later  he  was  visiting 
the  chapel  to  the  left  on  entering,  where  was  kept  at 
that  time  the  chair  of  S.  Peter,  and  the  idea  came  to 
him  of  raising  this  chair  upon  the  shoulders  of  the 
four  doctors  of  the  church  under  the  window  of  the 
Holy  Spirit  ;  the  bronze  group  now  in  the  tribune 
is  the  result  of  this  inspiration.  When  first  completed, 
Bernini  called  in  Sacchi  to  criticise  his  group  of 
figures,  and  Sacchi  pronouncing  them  6  inches  too 
small,  the  work  was  begun  again  from  the  beginning. 
The  four  figures  of  S.  Ambrose,  S.  Augustine,  S.Chry- 
sostom,  and  S.  Athanasius  are  colossal  in  size,  and 
hold  upon  their  shoulders  a  bronze  throne,  in  which  is 
enclosed  the  ancient  chair  of  Peter.  Seen  from  the 
great  distance  of  the  end  of  the  nave,  the  group  is 
imposing,  and  probably  anything  less  large  and  mas,- 
sive  would  have  looked  insignificant  ;  but  seen  close, 
the  figures,  like  all  Bernini's,  are  entirely  wanting  in 
beauty  or  grace,  and  their  waving  draperies  are,  in 
such  a  position,  more  than  ordinarily  out  of  place. 

The  four  great  arches  of  the  nave  correspond  to  as  Chapels- 
many  chapels,  opening  on  either  hand  into  the  aisles.  "^^^  ^^^'®' 
These  are  richly  decorated  with  marble  ;  the  altar- 
pieces  are,  for  the  most  part,  copies,  in  mosaic  of  fine 
workmanship,  of  celebrated  paintings.  The  aisles  are 
rich  in  sepulchral  monuments  of  popes  and  illustrious 
persons,  but  few  of  them  have  any  artistic  merit. 

Taking  the  chapels  in  order,  that  immediately  to 
the  right  on  entering  is  the  chapel  of  the  Pieta,  so  i.  Pieta. 
called  from  the  marble  group  by  Michael  Angelo  of 
the  dead  Christ  upon  the  knees  of  His  mother  which 
it  contains.  This  group  was  executed  by  Michael 
Angelo  when  only  twenty-four  years  old,  and  bears 
his  name  carved  upon  the  girdle  of  the  Madonna.     It 


78 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


2.  S.  Se- 
bastian. 


3.  Sacra- 
ment. 


cannot  unfortunately  be  properly  seen  in  the  position 
in  which  it  is  placed.  To  the  right  stands  a  white 
marble  column  protected  by  a  grating  of  iron  bars, 
said  to  have  been  brought  from  the  Beautiful  Gate 
of  the  Temple  of  Jerusalem,  and  against  which  Christ 
is  said  to  have  leant  during  some  of  His  discourses,"'' 
Opposite  is  the  sarcophagus  of  the  Senator  Probus, 
decorated  v/ith  bas-reliefs  of  Christ  and  the  Apostles. 
Beyond  is  the  chapel  of  the  Crucifixion  within  bronze 
doors,  containing  a  crucifix  by  Cavallini.  This  chapel 
was  designed  by  Bernini ;  it  also  contains  a  mosaic  by 
Cristofari.  Outside  the  chapel,  under  the  arch,  is  the 
monument  of  Leo  XII.  (1823),  and  that  of  Christina, 
Queen  of  Sweden,  daughter  of  Gustavus  Adolphus, 
who  died  in  Rome  in  1689. 

The  second  chapel  is  that  of  S.  Sebastian,  with  a 
mosaic  altar-piece,  a  copy  of  Domenichino's  picture  of 
the  saint  in  S.  Maria  degh  AngeH.  Beyond  to  the 
right  is  the  tomb  of  Innocent  XII.  by  Valle ;  and  to 
the  left,  that  of  Countess  Matilda  of  Tuscia,  the  friend 
df  Gregory  VII.,  and  stanch  upholder  of  the  authority 
of  the  popes  against  the  German  incursions.  She  died 
in  Mantua  in  11 15,  and  her  remains  were  removed  to 
their  present  position  by  Urban  VIII.  in  1635.  The 
sarcophagus  is  decorated  with  bas-reliefs  representing 
Henry  IV.  at  Canossa  with  Gregory  VII.  and  Matilda. 

The  third  chapel  on  the  right  is  that  of  the  Sacra- 
ment. It  is  enclosed  with  iron  doors,  and  is  richly 
decorated.  To  the  right  are  the  two  twisted  pillars 
from  the  old  basilica.  The  altar-piece  of  the  Trinity 
is  by  Pietro  da  Cortona.  Over  the  altar  is  a  magni- 
ficent tabernacle  of  gilt  bronze  and  lapis  lazuli, 
copied  from  Bramante's  round  temple  at  S.  Pietro  in 
Montorio.  To  the  right  is  the  tomb  of  Sixtus  IV., 
the  bronze  worked  by  Antonio  Pollajuolo.  In  the 
same  tomb  lies  Julius  II.,  who,  it  will  be  remembered, 
commissioned  Michael  Angelo  to  design  for  him  the 
enormous  sepulchral  monument,  part  of  which  now 
•  See  note,  p.  61. 


S.  PETER'S  79 

stands  in  S.  Pietro  in  Vincoli.  The  altar  behind  this 
tomb  is  that  of  S.  Francis,  the  mosaic  represents 
his  receiving  the  stigmata.  Beyond  this  chapel  under 
the  archway  are  monuments  to  Gregory  XIII.  by 
Rasconi  and  to  Gregory  XIV.  The  former  is  decorated 
with  a  bas-relief  representing  the  correction  of  the 
calendar,  which  took  place  during  this  pontificate. 

The  next  and  fourth  chapel  is  of  the  Madonna  del  4.  Ma- 
Soccorso,  and   contains  a    picture   of  the    Madonna,  donna  del 
of  the   XII.  century,   removed   from   the   convent   in  Soccorso, 
Campo   Marzio,  where  it  was   much  venerated.      It  ^onan 
was  brought  to  S.  Peter's  in  solemn  procession,  an  chapel, 
event  commemorated  by  Raphael  in  the  Loggie.    This 
chapel  was  erected  by  Gregory  XIII.  from  designs  of 
Michael  Angelo,  carried  out  by  Giacomo  della  Porta, 
and   is   generally   known   as   the    Gregorian    Chapel. 
Under  the  picture  of  the   Madonna  is  the  tomb   of 
S.  Gregory  Nazianzen,"^  and  before  the  altar  the  tomb 
(marked  by  a  single  slab)   of  Gregory  XIII.,  to  the 
right  the  elaborate  monument  to  Gregory  XVI. 

Against  the  last  pillar  of  the  nave  outside  this 
chapel  is  the  altar  of  S.  Jerome,  with  a-  mosaic  copy 
of  the  communion  of  the  saint  by  Domenichino. 
Under  the  next  arch,  the  tomb  of  Benedict  XIV.; 
and  opposite,  the  chapel  of  S.  Basil,  with  a  copy  of  ' 
Subleyras's  picture  of  the  saint  celebrating  mass. 

In  the  right  transept  beyond  was  held  the  Vatican  Right 
Council  of  1869,  the  partitions  erected  for  it  remaining  transept. 
in  position  until  1889.  The  green  pillars  in  the  transepts 
come  from  the  temple  of  Romolus  and  Remus,  and  here 
the  canons  used  to  sing  the  Litany  of  the  Virgin  every 
Saturday.  The  size  of  these  two  transepts  together 
is  such  that  they  could  contain  the  cathedral  of  Milan 
as  to  height  and  length,  although  the  latter  is  slightly 
wider. 

At  either  end  of  the  transepts  are  two  pillars  of 
giallo  antico  of  great  value,  removed  from  some  edifice 
of  pagan  Rome.     Each  transept  contains  three  altars, 
*  See  p.  272. 


8o 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


although  the  original  design  was  for  nine.  The  centre 
chapel  of  the  right  transept  is  that  of  SS.  Processus  and 
Martinianus,  whose  relics  were  removed  here  from  old 
S.  Peter's,  with  a  copy  of  Valentin's  picture  of  their 
martyrdom.  To  the  right  of  this,  S.  Wenceslaus, 
King  of  Bohemia,  with  a  painting  (copy)  by  Caroselli ; 
and  to  the  left  the  martyrdom  of  S.  Erasmus,  by 
Poussin. 

Beyond  the  transept,  on  the  back  of  the  pier  of  the 
dome,  is  the  chapel  of  the  Navicella,  with  an  altar- 
piece  copy  by  Lanfranco ;  opposite,  the  monument  of 
Clement  XIII.  by  Canova,  the  most  beautiful  in  the 
church. 

5.  Arch-         The  last  chapel  on  the  right  is  that  of  the  Archangel 

angel  Michael,  with  a  copy  of  Guide's  well-known  picture. 

Michael.  Here  also  is  the  altar  of  S.  Petronilla,  spiritual 
daughter  of  S.  Peter.  This  chapel  is  under  the 
patronage  of  the  kings  of  France,  who  often  sent  their 
children  to  receive  baptism  here.  The  altar-piece  is 
a  copy  of  Guercino's  picture  in  the  capitol. 

Passing  on  the  left  the  tomb  of  Clement  X.,  and  on 
the  right  the  resuscitation  of  Tabitha  by  S.  Peter,  from 
Costanzi's  painting,  one  enters  the  tribune. 

Tribune.  The  altar  of  the  tribune  was  erected  by  Pius  IX.  in 
.  1859.  To  the  left  of  it  is  the  tomb  of  Paul  III.  The 
monument  was  designed  by  Michael  Angelo,  and  worked 
by  Guglielmo  della  Porta.  Beneath  the  statue  of  the 
Pope  in  bronze  are  two  allegorical  figures,  said  to  be  por- 
traits of  the  Pope's  mother  as  Prudence,  and  his  sister 
as  Justice.  The  drapery  of  the  figure  of  Prudence  was 
added  at  two  subsequent  periods  once  by  Bernini,  and 
again  by  order  of  Pius  IX.  Two  other  figures  belonging 
to  this  tomb  are  now  in  the  Farnese  Palace,  and  were 
separated  from  it  when  it  was  moved  to  its  present 
position  by  Urban  VIII.*  To  the  right  of  the  altar  is 
the  tomb  of   Urban   VIII.,  the  figure  of  the    Pope 

*  On  the  walls  are  inscriptions,  with  the  names  of  all  those 
present  upon  the  declaration  of  the  doctrine  of  the  Immaculate 
Conception  in  1854. 


S.  PETER'S  «i 

executed  by  Bernini,  the  other  figures  by  his  pupils. 
The  bees  from  the  Barberini  coat-of-arms  may  be 
noticed,  not  within  the  shield,  but  wandering  away 
over  the  monument,  suggestive  of  the  ended  life  of 
the  occupant. 

Crossing  the  tribune,  and  entering  the  prolongation 
of  the  left  aisle,  one  passes  on  the  right  the  tomb  of 
Alexander  VIII.,  with  a  bas-relief  of  the  canonization 
by  him  of  five  saints  ;  on  the  left,  a  mosaic  copy  of 
Mancini's  Peter  and  John  heahng  the  lame  man. 
Beyond  is  the  altar  of  Leo,  above  it,  the  great  bas- 
relief,  probably  the  largest  in  the  world,  by  Algardi, 
representing  Leo  I.  warning  Attila  against  the  wrath 
of  the  Apostles  should  he  advance  upon  Rome.  In 
front  of  the  altar  is  a  slab  marking  the  grave  of 
Leo  XII.,  the  inscription  upon  it  composed  by  him- 
self. 

This  chapel,  at  the  extreme  end  of  the  church,  is  5.  Chapel 
called  the  Colonna,  from  a  painting  of  the  Madonna  left  of 
on   a  pillar  which  stood  in   old  S.  Peter's,  and  was  "f-^^- 
much  revered.     Beneath  this  altar  is  an  ancient  sarco-  colonna. 
phagus,  which  contains  the  bones  of  Leo  II.,  Leo  III., 
and  Leo  IV.  (682,  795,  and  847). 

Beyond,  to  the  right,  is  the  hideous  tomb  of  Alex- 
ander VII.,  Bernini's  last  work,  with  four  allegorical 
figures,  the  drapery  of  one  of  these  being  added  at  a 
later  date  by  Innocent  XI.  Opposite  is  the  Fall  of 
Simon  Magus,  an  original  oil-painting  upon  slate  by 
Francesco  Vanni. 

The  three  chapels  of  the  left  transept  are :  in  the  Left 
centre,  a  copy  of  Guido's  Crucifixion  of  S.  Peter'' ;  this  transept, 
is  the  site  of  the  tomb  of  the  composer  Palestrina  (1520- 
1594)  ;  to  the  right,  S.  Thomas,  by  Camuccini ;  and 
to  the  left,  the  new  mosaic  of  the  miracle  of  S.  Maurus.t 
This  transept  contains  confessionals  for  eleven  different 
languages,  and  the  throne  of  the  Cardinal  Penitentiary. 

*  The  bodies  of  Simon  and  Jude  lie  here. 

t  The  S.  Francis,  by  Domenichino,  which  stood  here,  has  been 
moved  to  the  chapel  of  the  Sacrament. 

6 


82 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


4.  Clemen- 
tine 
Chapel. 


3.  Choir 
Chapel. 


2.  Presen 
tation. 


Beyond,  one  passes  on  the  right  above  the  door  to 
the  sacristy  the  monument  of  Pius  VIII.,  and,  on 
the  left,  a  copy  of  Roncalli's  death  of  Ananias  and 
Sapphira  over  the  altar  of  S.  Peter  and  S.  Andrew. 

The  next  chapel,  the  fourth  in  the  left  aisle,  is  the 
Clementine  Chapel,  erected  by  Clement  VIII.  (1592- 
1605),  which  contains  the  tomb  of  Gregory  the  Great 
(590-604).  The  altar-piece  above  represents  the  miracle 
of  the  Brandeum  by  Sacchi." 

In  the  same  chapel  is  the  tomb  of  Pius  VII.,  by 
Thorvaldsen.  On  the  pier  a  mosaic  copy  of  Raphael's 
Transfiguration. 

In  the  next  arch  are  the  tombs  of  Innocent  XL 
(1676)  and  of  Leo  XL  (1605),  the  latter  by  Algardi, 
with  a  bas-relief  of  the  abjuration  of  Henry  IV.  of 
France. 

Beyond  is  the  chapel  of  the  choir,  decorated  by 
Giacomo  della  Porta,  and  shut  in  by  ironworked  doors. 
It  contains  stalls  for  the  canons,  and  two  galleries  with 
organs  for  the  choir.  The  altar-piece  is  a  mosaic  copy 
of  Bianchi's  picture  of  the  Assumption,  in  S.  Maria 
degli  Angeli. 

Beyond  the  chapel,  under  the  arch,  is  the  monument 
of  Innocent  VI 1 1.,  by  the  brothers  Pollajuolo,  and 
opposite  this  a  niche  where  each  pope  is  laid  at  his 
death  for  the  space  of  a  year,  when  his  remains  are 
removed  to  some  permanent  resting-place. 

The  next  chapel  is  that  of  the  Presentation,  and 
contains  a  mosaic  copy  of  RomaneUi's  picture  of  that 
subject. 

Above  the  door  in  the  arch  to  the  right,  is  the 
tomb  of  Maria  Sobieski,  wife  of  the  Pretender  James 
Edward,  called  in  the  inscription  James  III.  of  Great 
Britain,  France  and  Ireland,  who  died  in  Rome  in 
1745,  and  whose  monument  was  erected  at  the  expense 
of  the  Fabbrica,  or  building-fund,  of  S.  Peter's. 

Opposite  this  is  the  Stuart  monument,  by  Canova — 
a  tomb  guarded  by  genii,  whose  drapery  was  added 
*.  See  p.  45 


S.  PETER'S  83 

in  stucco  at  a  later  period.  This  monument  was  erected 
at  the  expense  of  George  IV.  of  England  to  the  last 
of  the  Stuarts,  and  bears  an  inscription  to  James  III., 
Charles  Edward,  and  Henry  Cardinal  York.  In  the 
crypt,  where  their  ashes  in  reality  lie,  all  three  are 
given  the  royal  title. 

The  last  chapel  in  this  aisle  is  the  Baptistery,  con-  i.  Baptis- 
taining  a  mosaic  copy  of  Maratta's  baptism  of  Christ ;  tery. 
S.  Peter  baptizing  his  gaolers,  by  Passeri ;  and  the 
baptism  of  the  Centurion,  by  Procaccini.  In  the  centre 
is  an  immense  red  porphyry  basin,  used  as  the  font, 
which  was  originally  the  cover  of  the  sarcophagus  of 
Hadrian,  and  afterwards  of  Otho  II. 

The  sacristy,  which  consists  of  three  principal  halls.  Sacristy, 
was  built  by  Pius  VI.  in  1775.  The  entrance  in  the 
left  aisle  leads  into  a  wide  winding  corridor.  Imme- 
diately within  the  entrance  are  statues  of  SS.  Peter  and 
Paul  by  Mino  da  Fiesole,  which  used  to  stand  in  front 
of  the  old  basilica.  The  corridor  opens  into  the  Sagrestia 
Commune,  an  octagonal  hall,  decorated  with  eight  fluted 
pillars  of  higio,  or  gray  marble,  from  Hadrian's  villa, 
and  containing  an  altar-piece  of  the  Deposition  by 
Sabattini.  The  gilt  bronze  cock  here  came  from  the 
bell-tower  of  the  old  church. 

On  the  left  of  this  room  is  the  Sagrestia  dei  Canonici 
(to  see  which  and  the  following  a  guide  is  necessary), 
containing  an  altar-piece  by  Penni,  of  the  saints  Anna, 
Peter,  and  Paul,  and  another  opposite,  of  the  Madonna, 
by  Giulio  Romano. 

Beyond  is  the  Stanza  Capitolare,  or  chapter-house. 
Here  are  preserved  some  old  doors  from  the  confession 
of  the  ancient  basilica,  decorated  by  Giotto.  These 
consist  of  eight  panels  representing  Christ  enthroned, 
the  crucifixion  of  Peter,  the  martyrdom  of  Paul ;  they 
were  probably  painted  in  1300  for  Cardinal  Stefaneschi, 
whose  portrait  appears  upon  them.  Here  are,  in 
addition,  some  fragments  of  paintings  by  Melozzo  da 
Forli  of  angels  playing  various  musical  instruments, 
which  originally  decorated  the  tribune  of  the  church 

6—2 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Treasury. 


Ascent  of 
Dome. 


Grotte 
Vaticane. 


of  SS.  Apostoli,  and  were  removed  here  by  Montana 
when  he  restored  that  church.  Adjoining  is  the 
Sagrestia  dei  Beneficiati,  with  an  altar-piece  by  Muziano, 
and  the  Madonna  della  Febbre,  from  the  church  of 
that  name  upon  the  site  of  which  the  sacristy  stands. 
Beyond  is  the  treasury,  which  however  is  seldom  shown, 
containing  jewels,  ornaments,  and  church  plate,  among 
which  are  six  candelabra  by  Benvenuto  Cellini  and 
Michael  Angelo ;  a  dalmatic,  said  to  have  been  worn 
by  Leo  III.  at  the  coronation  of  Charlemagne;  em- 
broidered copes  and  vestments  of  great  value ;  a  chalice, 
presented  by  Cardinal  York,  and  other  objects  of 
interest. 

Here,  over  the  door  into  the  Archives,  are  the  chains 
of  the  gate  of  Tunis,  presented  by  Charles  V.  to 
Sixtus  IV.  (1471-1481). 

The  ascent  of  the  dome  can  be  made  upon  applica- 
tion. The  entrance  is  opposite  the  Stuart  monument 
in  the  left  aisle.  An  easy  staircase  mounts  to  the  roof, 
and  further  flights  of  steps  and  passages  between  the 
two  walls  of  the  drum  lead  to  the  base  of  the  lantern, 
and  another  flight  to  the  ball,  which  can  contain  sixteen 
persons,  and  is  8  feet  in  diameter.  Openings  lead  into 
the  galleries  running  round  the  dome,  from  which  the 
interior  of  the  church  can  be  seen,  while  higher  up  a 
magnificent  view  of  Rome  and  the  surrounding  country 
is  obtained. 

In  one  of  the  chambers  in  the  pillars  of  the  dome  is 
preserved  a  model  of  the  proposed  S.  Peter's  as  designed 
by  San  Gallo. 

The  crypts  of  S.  Peter's,  the  so-called  Grotte  Vaticane, 
are  the  only  portions  remaining  of  the  original  basilica, 
and  are  interesting  to  visit  on  this  account.  They 
moreover  possess  many  monuments  and  other  objects 
of  artistic  and  historical  value,  removed  from  the  old 
church  upon  its  destruction. 

Originally,  access  could  be  obtained  for  men  upon 
application  at  the  sacristy ;  but  women  were  not  allow^ed 
entrance  except  by  special  permission,  obtained  through 


S.  PETER'S  85 

the  cardinal  archpriest  of  the  basilica.  Lately,  the 
vaults  have  been  closed  to  all  by  order  of  the  Pope, 
and  permission  to  see  them  is  extremely  difficult  to 
obtain. 

The  grotte  consist  of  two  portions — the  so-called 
grotte  niwve  beneath  the  dome,  which  consist  of  a  circular  Grotte 
passage  surrounding  the  confession,  from  which  open  nuove. 
various  chapels  ;  and  the  grotte  vecchie,  consisting  of 
three  parallel  corridors  beneath  a  portion  of  the  nave. 

The  entrance  into  the  vaults  is  behind  the  statue  of 
S.  Veronica.  Beneath  each  of  the  four  great  pilasters 
of  the  dome  are  the  four  chapels  of  S.  Veronica, 
S.  Helena,  S.  Andrew,  and  S.  Longinus,  opening  into 
the  circular  corridor,  and,  of  course,  added  at  a  later 
date.  The  chapel  of  S.  Helena  is  decorated  with 
paintings  of  events  in  the  life  of  S.  Andrew  ;  that  of 
S.  Longinus  has  a  mosaic  altar-piece  of  the  saint  from 
Sacchi. 

In  the  centre  of  the  circular  passage  is  the  chapel  of  Chapel  of 
the  confession  in  the  shape  of  a  Latin  cross,  and  richly  cpnfes- 
decorated.     On  either  side  of  the  entrance  are  bas-  ^^'^^' 
reliefs  of  the  lives  of  Peter  and  Paul,  removed  from 
the  ciborium  of  Sixtus  IV.  in  the  old  church. 

Opposite  the  entrance  is  the  sarcophagus  of  Junius 
Bassus  (359),  richly  sculptured.  The  surface  of  the 
sarcophagus  is  divided  into  compartments,  in  each  of 
which  is  represented  some  scene  from  the  Old  or 
New  Testament ;  at  the  ends  Job  and  Peter,  and 
above  the  compartments  the  lamb  holding  a  wand. 
The  altar  of  the  confession  is  decorated  with  two 
XII. -century  pictures  of  S.  Peter  and  S.  Paul. 

At  the  foot  of  the  stairs  leading  to  the  grotte  is  the  Chapel  of 
ancient  chapel  of  S.  Maria  in  Portico,  or  della  Boc-  S.  Maria 
ciata,  containing  a  picture  of  the  Madonna  by  Memmi,  ^"  Poi-tico. 
from  the  portico  of  the  old  church.     Here  also   are 
some  old  sarcophagi ;  the  statue  of  S.  Peter  by  Paolo 
da  Siena,  also  from  the  old  portico ;  statues  of  Matthew 
and  John  from  the  tomb  of  Nicholas  V.   (1447) ;  of 
Benedict  XI.  (1303);  some  Christian  inscriptions,  and 


86 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Of 

S.  Maria 

Partori- 

enti. 


a  fresco  representing  old  S.  Peter's.  The  next  chapel 
is  that  of  S.  Maria  Partorienti,  and  between  them 
is  a  X,  century  mosaic  of  Christ  in  the  attitude  of 
benediction  from  the  tomb  of  Otho  II.  The  chapel 
contains  an  viii.  century  mosaic  of  the  Virgin,  and  of 
an  angel  attributed  to  Giotto;  a  portrait  of  John  VII. 
(705);  a  figure  of  Boniface  VIII,  (1294)  by  Andrea 
da  Pisa ;  some  v.  and  vi.  century  inscriptions,  and 
the  statues  of  the  2  apostles  James  from  Nicholas  V.'s 
monument.  Popes  Leo  II.,  Leo  III.,  and  Leo  IX. 
were  originally  laid  in  this  chapel.  Opposite  to  it  is 
another  chapel  of  the  Salvatorino,  with  a  cross  in 
marble  from  the  old  church. 

Close  to  the  chapel  of  S.  Andrew  is  the  inscription 
of  Pope  Damasus  (366-384)  from  the  old  baptistery 
relating  to  the  drainmg  of  the  Vatican  district. 
Others,  of  the  time  of  Valentinian  and  Theodosius 
(376-379),  relating  to  property  held  by  S.  Peter's;  the 
statues  of  Bartholomew  and  John  from  the  tomb  of 
Calixtus  III.,  and  the  four  doctors  of  the  church  from 
Nicholas  V.'s  monument. 

The  Grotte  Vecchie  lead  out  from  this  portion 
of  the  corridor.  They  have  undergone  hardly  any 
alteration,  and  their  floor  is  formed  of  the  pavement 
of  the  old  church.  They  contain  a  large  number  of 
monuments  and  sarcophagi  of  popes  and  illustrious 
persons  which  stood  in  the  atrium  of  the  old  basilica. 
With  the  exception  of  a  few  popes  in  the  x.  and  xi. 
centuries  buried  in  the  Lateran,  by  far  the  greater 
number  were  laid  in  S.  Peter's  (after  Leo  I.),  at 
first  in  the  atrium,  later  within  the  building.  Upon 
its  destruction  some  of  these  tombs  were  moved  to  the 
crypt  of  the  new  church  ;  a  few  were  placed  in  S.  Peter's 
itself ;  others  were  scattered  among  the  churches  and 
chapels  of  the  city, 
^f^  >f  ^^  At  the  upper  end  of  the  Grotte  Vecchie  is  the  chapel 

Salvatore  °^  ^^^  Salvatore,  with  a  Madonna  in  bas-relief  by 
Arnolfo  from  the  tomb  of  Boniface  VIII.  (1294-1303). 
Here  also  is  the  tomb  of  Charlotte,  Queen  of  Cyprus 


Grotte 
Vecchie 


S.  PETER'S  87 

(1487),  and  the  inscription  recording  Countess  Matilda's 
gift  of  her  property  to  the  Church  in  1 102.  Following 
the  wall  of  the  corridor,  we  reach  the  tomb  of  the  last 
Stuarts,  named  under  their  royal  titles  of  James  III., 
Charles  III.,  and  Henry  IX. ;  that  of  Pius  VIII.  (1831), 
and  at  the  extremity  of  the  corridor  that  of  Gregory  V. 
(996-999),  of  Otho  II.,  ob.  983,  and  the  empty  tomb 
of  Alexander  VI.  (1492). 

The  further  corridor  is  the  richest  in  sepulchral 
monuments.  Here  is  the  sarcophagus  of  Boni- 
face VIII.,  the  figure  by  Arnolfo ;  that  of  Pius  II. 
(1458-1464),  of  Pius  III.  (1503-1503),  of  Adrian  IV. 
(1154-1159)  the  English  Pope  Nicholas  Breakspear  ; 
of  Nicholas  V.  (1447-1455),  and  of  Paul  II.  (1464-1471), 
the  figure  of  this  pope  by  Mino  da  Fiesole.  Beyond 
are  the  tombs  of  Julius  III.  (1550-1555),  Nicholas  III. 
(1277-1281),  Urban  IV.  (1261-1265),  Marcellus  II. 
(1555),  and  Innocent  IX.  (1591-1592),  of  Cardinal 
Ercole,  and  of  Agnese  Caetani  Colonna.  The  corridor 
of  the  Grotte  Vecchie  here  ends,  and  one  enters  once 
more  the  circular  passage  of  the  Grotte  Nuove.  Be- 
tween the  chapels  of  Longinus''=  and  Helena  are  some 
statues  of  Christ  and  S.  Andrew,  taken  from  the 
tomb  of  Nicholas  V. ;  some  bas-reliefs  by  Mino  da 
Fiesole,  representing  the  Last  Judgment,  Adam  and 
Eve,  and  Charity,  from  the  tomb  of  Paul  II.  There 
are  also  some  mosaics  here. 

Feast  day :  of  SS.  Peter  and  Paul,  June  29  ;  of  the  chair  of 
Peter  in  Rome,  January  18 ;  of  the  chair  of  Peter  at  Antioch, 
February  22  ;  of  the  dedication  of  the  basilica,  November  18. 

The  Stations  are  kept  on  the  2nd  Saturday  and  5th  Sunday 
in  I_^nt. 

*  Longinus  was  the  centurion  who  pierced  the  side  of  our 
Lord  upon  the  cross,  and  exclaimed  :  "Truly  this  man  was  the 
Son  of  God,"  It  is  related  that,  touching  his  eyes  with  his  hands 
stained  with  the  blood  of  Christ,  he  was  cured  of  a  weakness  of 
sight  which  had  long  afflicted  him.  He  sought  out  the  Apostles, 
and  was  baptized.  He  dwelt  in  Caesarea  for  twenty-eight  j^ears, 
converting  many,  and  was  finally  beheaded  for  the  faith.  He  is 
represented  in  art  in  the  clothes  of  a  Roman  soldier,  and  carries 
a  lance.     Feast  day,  March  i:;. 


CHAPTER  V. 

The  Lateran  —  Basilica — Palace — Patriarchium  —  Baptistery — Scala 
Santa — Christian  Museum — 5.  John  the  Baptist — S.  John  the 
Evangelist. 

The  Church  of  S.  Giovanni  in  Laterano  rises  upon 
the  site  of  the  House  of  the  Laterani,"  a  palace  which 
that  family  had  possessed  from  the  time  of  Plautius 
Lateranus,  the  Consul  Designate.  This  Consul,  either 
through  his  embracing  Christianity  or  through  some 
other  cause,  had  his  estates  confiscated  by  Nero,t 
but  they  were  again  restored  to  the  family  by  Sep- 
timius  Severus  in  a.d.  197.  Later,  the  j^des  Laterani 
passed  into  the  possession  of  Fausta,  wife  of  the 
Emperor  Constantine,  and  was  her  dower  house,  and 
it  was  that  portion  known  as  the  house  of  Fausta, 
domus  Faust(B,\  which  was  given  to  the  Bishops  of 
Rome  as  a  residence,  and  which  the  successors  of 
Pope  Sylvester  occupied  until  the  flight  to  Avignon. 
This  donation  was  probably  made  in  the  first  years  of 
the  IV.  century,  for  as  far  back  as  October  2,  313, 
Pope  Miltiades  held  the  first  council  against  the 
Donatists  in  "  domo  Fausta  Laterano."  This  was  the 
year  when  the  Edict  of  Milan  assured  the  Peace  of 
the  church. 

*  Imperial  inscriptions  of  a  date  prior  to  Nero  have  been  found 
here,  and  here  was  found  the  statue  of  Titus  now  in  the  Braccio 
Nuovo  of  the  Vatican. 

t  Tacitus,  Ann.,  xv. ;  Juvenal,  Sat.,  x.  11. 

*  Optatus  Milevius,  Contra.  Parm.,  i. 


THE  LATER  AN  89 

The  precise  epoch  at  which  a  Christian  basilica  was  The 
built  within  the  Lateran  palace  is  unknown.  Its  his-  basilica, 
tory  is  interwoven  with  that  of  the  development  of 
Christianity  in  Rome,  of  which  it  becomes,  as  it  were, 
the  symbol,  the  *'  glorious  capitol  of  the  Rome  of  Peter 
and  Paul."  The  Lateran  church,  the  first  public 
Christian  basilica,  became  the  cathedral  of  Rome,  and 
hence  took  priority  of  all  the  churches  in  the  city  ;  its 
canons  to-day  taking  precedence  of  the  canons  of 
S.  Peter's. 

This  first  church  built  within  the  palace  was  probably 
of  no  great  size,  and  its  materials  and  columns  were 
no  doubt  borrowed  from  Pagan  buildings.  Tradition 
asserts,  as  in  the  case  of  S.  Peter's,  that  Constantine 
himself  helped  to  dig  its  foundations.  It  was  known 
as  the  Basilica  Constantiniana,  and  the  Liber  Ponti- 
ficalis  in  Sylvestro  specifies  the  treasures  that  Constan- 
tine gave  it,  treasures  no  doubt  accumulated  in  later 
centuries.  The  dedication  was  to  Christ  the  Saviour,  Dedica- 
but  it  appears  that  about  the  vi.  century  the  names  tion. 
of  S.  John  the  Baptist  and  S.  John  the  Evangelist  were 
added,  possibly  derived  from  a  monastery  of  monks, 
dedicated  to  those  two  saints,  which  existed  near  the 
Lateran  from  some  time  after  the  iv.  century.  The  dedi- 
cation then  became  "  Christo  Salvatori,  et  in  honorem 
S.  Joannis  Baptistae  et  S.  Joannis  Evangelistae." 

The  Lateran  church  was  so  much  damaged  by  the  Restora- 
Vandals,  that  Leo  the  Great  (440-461)  had  to  restore  tionsof 
it,  and  it  was  again  restored  by  Adrian  I.  (771-795)  ;  ^^°  ^• 
but  in  896  it  was  almost  totally  destroyed  by  an  earth- 
quake, and  the  Liber  Pontificalis  records  that  "  hujus 
tempore  ecclesia  Lateranensis  ab  altare  usque  ad  portas 
cecidit." 

Sergius  III.  (904-911)  then  completely  rebuilt  theofSer- 
church,  upon  the  old  foundations,  retaining  the  old  gius  III. 
dimensions,    and    it    is   of  this   building,   which    was 
certainly  dedicated  to  S.  John  the  Baptist,  in  addition 
to  the  original  dedication,  that  we  have  the  first  clear 
accounts. 


90 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


The  Sergian  basilica  lasted  for  400  years,  when 
on  the  night  of  May  8,  1308,  it  was  almost  totally 
destroyed  by  fire. 

The  history  of  the  great  basilicas  of  Rome  during 
these   ages   of  turbulence  and   violence  is   one   long 

Of  Cle-      narration  of  destruction  and  reconstruction.   Clement  V. 

ment  V.  (1305-1316)  began  the  rebuilding  of  the  church,  which 
was  completed  under  his  successor  John  XXII.  (1316- 
1334),  and  decorated  by  Giotto. 

But  in  1360  it  was  again  burnt,  and  again  rebuilt  by 

Of  Urban  V.  (1362- 1370).     At  this  epoch   little   of  the 

Urban  V.  Sergian  church  remained,  but  the  building  had  re- 
tained its  ancient  type.  And  this,  too,  is  the  period  of 
its  greatest  splendour. 

Under  successive  popes,  the  magnificence  of  the 
Lateran  increased ;  its  gold  and  marbles  vied  with 
those  of  the  palaces  of  the  Caesars,  and  gave  to  it  the 
name  of  "basilica  aurea."  The  remembrance  of  its 
many  treasures  moved  the  imaginations  of  the  Romans 
of  the  middle  ages,  and  history  and  fable  were  inter- 
twined, until  it  was  said,  and  then  inscribed  in  the 
documents  of  the  Lateran,  that  here,  besides  the  Ark 
of  the  Covenant,  were  preserved  the  Tables  of  the 
Law,  the  Golden  Candlestick,  and  the  sacerdotal  vest- 
ments of  Aaron,  and  the  Lateran  was  believed  to  have 
succeeded  to  the  sanctity  of  the  Temple  of  Jerusalem. 
So  too  we  find  it  called  "  Aula  Dei "  as  though  it  were 
a  new  Zion.* 

At  this  period  the  basilica  was  preceded  by  a  large 

*  On  the  Arch  of  Titus  are  represented  the  table  of  sacrifice, 
seven-branched  candlestick,  two  censers,  two  long  trumpets,  and 
the  ark.  These  Josephus  describes  as  brought  to  Rome  by  Titus. 
Vespasian  had  sent  the  books  ofxthe  Law  and  the  veil  of  the 
Temple  to  the  palaces  of  the  Caesars.  The  candlestick  and  the 
vessels  he  placed  in  his  Temple  of  Peace.  When  Alaric  sacked 
Rome,  he  obtained  possession  of  some  of  those  things,  and 
Genseric  shipped  the  sacred  vessels  to  Carthage.  Here  they 
were  discovered  eighty  years  later  by  Belisarius,  and  brought  to 
Constantinople.  There  has  been  no  further  trace  of  them  since 
Justinian  ordered  them  to  be  taken  to  a  Christian  church  in 
Jerusalem,  as  related  by  Procopius. 


THE  LATERAN  91 

atrium,  surrounded  by  colonnades,  and  with  a  fountain  Atrium, 
in  the  centre,  according  to  ancient  usage. 

Here  were  noble  sepulchres  of  popes  and  bene- 
factors, among  the  former,  the  tombs  of  John  X. 
(915-928),  John  XII.  (956-964),  John  XIV.  (984-985), 
of  Alexander  II.  (1061-1073),  and  of  Martin  V.  (1417- 
143 1),  whose  body  was  later  transferred  to  the  papal 
altar. 

Here  also  was  an  oratory  of  S.  Thomas  which 
formed  a  pontifical  sacristy  erected  by  John  XXII. 
On  the  door  was  a  x.  century  painting  representing 
the  pope  vesting.  The  porticoes  of  the  atrium  were 
decorated  with  frescoes  representing  the  Roman  fleet 
under  Vespasian,  the  siege  of  Jerusalem,  the  baptism 
of  Constantine,  and  the  "  donation  "  of  Sylvester,  pos- 
sibly of  the  time  of  Alexander  III.  (1159-1181). 

Here  also  was  the  "  stenoraria  "  or  seat  of  rosso  antico 
upon  which  the  pope  sat  during  his  coronation,  and 
which  had  this  strange  name  from  the  verse  of  the 
psalm  (113),  "  Suscitans  a  terra  inopem,  et  de  stercore 
erigens  pauperem,"  which  was  sung  during  the  cere- 
mony. 

The  fagade  of  the  church,  with  its  three  windows,  Fa9ade. 
as  we  see  at  S.  Maria  in  Trastevere  to-day,  and  in  the 
picture  of  old  S.  Peter's  in  the  Raphael  Stanze,  was 
decorated  with  mosaics,  representing  Christ  on  a  gold 
ground  ;  below,  the  figures  of  four  prophets,  with  the 
books  of  their  prophecies  in  their  hands. 

The  great  doors  into  the  church  were  flanked  by  Doors, 
statues  of  Peter  and  Paul,  still  preserved  in  the  gallery 
near    the    sacristy.      Within,    long   rows   of  ancient  Interior 
columns  divided  the  church  into  a  nave  and  four  aisles.  °^  tjj?  ol'i 
The   walls   were  covered  with   mosaics  and  frescoes  "^^^""^^ 
representing  scenes  from  the  Old  and  New  Testaments, 
and  light  entered  through  ogive  windows. 

A  few  steps  ascended  to  the  Clementine  nave,  or 
transept.  In  the  centre  of  this  rose  the  high  altar, 
enclosing  the  wooden  table  upon  which  Peter  is  said 
to  have  celebrated. 


92 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Transept.  Beyond  was  the  apse,  with  the  sedilia  and  episcopal 
throne.  Behind  again,  was  an  hexagonal  portico  of 
ancient  pillars,  around  which  was  the  celebrated  epi- 
graph recording  the  vision  of  Innocent  III.  (i  198- 1 216), 
and  here  was  kept  later  the  register  of  relics,  the 
"  tabula  magna  "  of  Leo  X.  This  was  the  Leonine 
portico,  built  it  was  said  by  the  first  Leo  (440-461). 

Apse.  An  inscription   upon   the   apse  stated  that  it  was 

decorated  with  mosaics  by  the  munificence  of  Con- 
stantine  Felix  Flavius  and  his  wife  Padusia  in  428. 
These  seem  to  have  been  restored  or  replaced  by  Leo  I. 
and  by  Sergius  III.,  who  recorded  his  work  in  an  in- 
scription. In  1291,  the  work  having  again  perished, 
Nicholas  IV.  entirely  restored  the  tribune,  and  de- 
corated it  with  mosaics,  the  work  of  the  Franciscan, 
Giacomo  di  Turrita.  His  work,  restored  and  preserved, 
has  lasted  to  our  own  time,  and  the  first  thing  we 
admire  on  entering  the  Lateran  to-day  is  the  richness 
and  beauty  of  the  tribune,  the  renewal  of  which  is 
the  work  of  the  present  pontiff,  making  us  feel  that 
this  is  indeed  a  "  basilica  aurea." 

Of  the  church  built  by  Urban  V.   (1362-1370)  we 
still  possess  portions  of  the  pavement,  of  fine  Alexan- 

Taber-       drine  work,  and  the  tabernacle  of  the  high  altar,  "a 

nacle.  most  graceful  monument  of  that  epoch."  The  canopy, 
of  Gothic  style,  is  decorated  with  paintings  by  Berna 
da  Siena,  and  rests  upon  four  granite  and  marble 
columns.  The  tabernacle  was  erected  partly  at  the 
expense  of  Charles  V.  of  France,  to  receive  the  busts 
of  SS.  Peter  and  Paul,  found  among  the  remains  of 
the  old  church.  These  busts  were  robbed  in  1434, 
and  again  at  the  end  of  the  xviii.  century  by  the 
French  Republicans  who  despoiled  the  church,  and 
the  present  replicas  we  see,  made  in  1804,  are  not  even 
faithful  copies  of  the  originals. 

Restora-         The  Lateran  basilica  was  again  restored  by  Martin  V. 

tions  of      (1417-1431)  and  by  Eugenius  IV.  (1431-1447),  and  was 

Martin  V.  g^riched  by  many  new   works   undertaken    by   their 


Eugenius 
IV 


successors,  until  in  the   pontificate   of   Innocent    X., 


THE  LATER  AN  93 

(1644- 1655)  for  the  third  time  it  was  entirely  rebuilt,  Inno- 
Borromini  being  the  architect.  cent  X, 

The  work  was  completed  under  Clement  XII.  (1730- 
1740),  who  erected  the  modern  fa9ade  as  we  see  it  to- 
day, the  work  of  Alessandro  GaHlei  (1734). 

In  digging  the  foundations  for  the  chapel  "at  the  ex- 
tremity of  the  aisle  of  penitents  in  1656,  Mellini  describes 
the  finding  of  the  remains  of  some  large  building,  some 
40  palms  below  the  surface,  with»terra-cotta  pilasters 
and  a  red  brick  pavement,  some  portion,  probably,  of 
the  Lateran  buildings. 

The  monastery,  which  was  perhaps  of  the  viii.  Monas- 
century,  covered  the  ground  to  the  left  of  the  basilica  ^®^y- 
as  one  stands  facing  the  apse,  and  between  it  and  the 
walls  of  the  city.  The  beautiful  Benedictine  cloister  Cloister, 
was  erected  in  the  first  years  of  the  xiii.  century 
by  the  Roman  school  of  marble-workers,  Vassallectus 
and  the  Cosmas.  They  are  in  a  style  transitional 
between  Romanesque  and  Gothic,  with  delicate  spiral 
columns  decorated  with  mosaic.  The  inscription 
placed  by  Vassallectus,  which  had  been  covered  by  a 
pilaster,  can  now  be  seen  in  the  cloister.  In  the  centre 
of  the  quadrangle  is  the  mouth  of  a  well  decorated 
with  Christian  subjects  in  bas-relief.  Other  fragments 
of  the  older  buildings  are  still  kept  here ;  among  them 
the  episcopal  throne  originally  in  the  apse,  2  columns 
from  the  House  of  Pilate,  a  stone  altar,  some  sepulchral 
slabs,  and  inscriptions. 

Opposite,  on  the  right  hand  side  of  the  basilica,  was  Lateran 
the  great  palace  of  the  popes,  an  irregular  mass  of  P^i^^e. 
building  extending  to  and  including  the  oratory  of  S. 
Lorenzo  now  at  the  head  of  the  Scala  Santa,  which 
was  then  the  private  chapel  of  the  popes,  the  Sistine  of 
the  Lateran.  The  palace,  like  the  present  Vatican,  was 
a  labyrinth  of  rooms,  oratories,  and  halls,  forming  a 
great  bovgo.  Besides  the  pope's  dwelling,  it  included  a 
great  Council  Hall  of  which  we  have  a  painting  in  the 
Vatican  Library,  and  to  which  the  Scala  Santa  origin- 
ally gave  access.    The  great  tower  and  portico  of  Pope 


94         CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Zaccarias  (731-741)  formed  the  entrance  to  this  part  of 
the  building,  and  from  here  papal  benedictions  were 
anciently  given ;  and  here  was  kept  a  map  of  all  the 
known  world.     A   magnificent  staircase  flanked  with 
porticoes  led  to  the  centre  of  the  building.     Near  by 
was  the  Tower  of  Barons,  and  here  was  the  equestrian 
statue  of  Marcus  Aurelius  now  on  the  Capitol,  which 
was  known  as  that  "  of  Constantine,"  and  owes  its 
Patriar-      safety  to  this  mistake.     Gregory  the  Great  founded  a 
chium.        residence  here- for  the  instruction  of  young  priests,  and 
from  his  time  we  find  the  building  called  Patriarchium. 
Tri-  Most  magnificent  of  all  the  halls  of  the  palace  was 

clinium.  the  Triclinium  or  Banqueting-Hall,  built  at  the  end 
of  the  VIII.  century  by  Leo  III.  in  honour  of  Charle- 
magne's visit,  and  where  they  feasted  together  after 
his  coronation  on  Christmas-day  a.d.  800.  It  had  no 
less  than  10  apses,  5  on  each  side,  and  terminated  in 
an  ample  tribune.  To  the  north  Boniface  VIII.  con- 
structed a  covered  loggia,  from  whence  the  papal  bene- 
dictions were  given,  and  the  Jubilee  of  1300  was  an- 
nounced. It  was  decorated  with  frescoes  by  Giotto, 
representing  the  scene  of  the  Jubilee  ;  the  only  frag- 
ment remaining  is  the  portrait  of  Boniface  VIII. 
attached  to  a  pillar  in  the  right  aisle  of  the  basilica. 
The  triclinium  was  panelled  with  marble,  and  de- 
corated with  mosaic.  A  facsimile  of  one  of  the  apses 
has  been  preserved  upon  the  outside  wall  of  the  Sancta 
Sanctorum  chapel,  facing  the  Campagna.  The  mosaic 
represents  Christ  in  the  centre  of  the  eleven  apostles  ; 
to  the  right  and  left  2  scenes.  To  the  right,  the 
kneeling  figures  of  Sylvester  and  Constantine  ;  to  the 
left,  Leo  and  Charlemagne ;  while  Peter,  with  the 
keys  upon  his  knees,  bestows  a  pallium  upon  Leo,  and 
a  banner  upon  Charlemagne.  Of  the  apostles,  Peter 
and  Paul  are  large  in  size,  and  are  sitting,  the  other 
nine  stand  behind.  Round  the  arch  is  written  :  "  Go 
out  and  teach  all  nations,"  etc.,  to  the  words,  "  con- 
summation of  the  world  ;"  and  beneath,  "  Glory  to  God 
in  the  highest,  and  on  earth  peace  to  men  of  good- 


THE  LATER  AN  95 

will."  By  Peter,  are  Linus  and  Clement.  The  copy 
of  the  mosaic  was  placed  in  its  present  position  l3y 
Benedict  XIV.,  but  the  original  decorated  the  apse  on 
the  opposite  side  of  the  Triclinium.  Fragments  of  this 
have  been  preserved  in  the  Vatican  library.* 

Around  the  Lateran  "  Borgo,"  foreigners  gathered,  Borgo. 
with  their  schools,  hospices  for  pilgrims,  and  dwellings, 
but  the  English  always  seem  to  have  preferred  the 
Vatican  precincts,  and  it  is  recorded  that  the  popes 
sent  food  and  clothing  from  the  Lateran  palace  to  the 
Anglo-Saxons  gathered  in  their  wooden  dwellings  round 
S.  Peter's,  who  were  suffering  from  cold  and  hunger, 
and  were  in  great  need. 

Boniface  VI IL  was  the  last  pope  to  undertake  any 
work  in  the   Lateran  Palace.     The  exile  at  Avignon 
followed,  and  in  the  xvi.  century  the  palace  being  in 
a  ruinous  condition,  it  was  ruthlessly  demolished  by  Destruc- 
Sixtus  v.,  who   employed  Fontana  for  the  purpose,  tion  of 
and  the  present  buildings  were  erected  in  its  stead,  palace. 
Among  the  many  buildings  of  historical  and  artistic 
interest  which  then  perished,  in  some  cases  with  the 
expostulation  and  regrets  of  the  Roman  people,  the 
baptistery,  cloisters,  and  chapel  of  S.  Lorenzo  alone 
escaped. 

Among  the  many  inscriptions  which  have  perished, 
Signor  Armellini  records  one,  which  was  read  by 
Galletti,  in  a  corner  of  the  atrium,  as  a  rare  example 
of  truthful  epigraphy  : 

"  Hie  jacet  in  fossa 
Pietro  Paolo  Barbarossa 
L'anima  del  quale 
Credo  manere  male." 

In  the  Lateran,  which  we  also  find  styled  Sacro- 
sancta  Laterancnsis  Basilica,  five  general  councils  have 
been  held,  in  1123,  1139,  1179,  in  1215,  and  in  1512. 

*  The  Liber  Pontificalis  is  the  document  from  which  the 
topography  of  the  Lateran  can  be  reconstructed.  Le  Latran  att 
Moyen  Age,  by  Fleury,  1877,  is  also  a  valuable  source  of  informa- 
tion. 


90         CHRISTIAN  AND  ECCLESIASTICAL  ROME 

From  the  return  from  Avignon  until  1870,  the  popes 
have  resided  in  the  Vatican  palace,  and  one  of  the 
first  acts  of  each  new  pope,  upon  his  election,  was  to 
take  possession  of  the  Lateran,  the  cathedral  church 
of  Rome  ;  a  ceremony  performed  with  much  pomp  and 
magnificence."' 

The  Lateran  was  under  the  Protection  of  France. 
In  visiting  the  Lateran  church  to-day,  no  one  should 
neglect  to  go  to  the  steps  of  the  great  front.  From 
here  one  looks  across  the  Campagna  with  the  aque- 
ducts of  Claudius,  and  in  the  distance  the  blue  Alban 
Hills.  Close  by  is  the  gate  of  S.  Giovanni,  replacing 
the  ancient  Porta  Asinaria,  through  which  Belisarius, 
and  after  him  Totila,  entered  Rome  ;  and  across  the 
open  space  within  the  walls,  the  Church  of  S.  Croce  in 
Gerusalemme. 

Fa9ade.  ^^  ^he  great  travertine  fa9ade  of  the  basilica,  we 

read  along  the  entablature  the  dedication,  Christo 
Salvatori,  and  over  the  pilasters  that  this  is  the 
mother  and  head  of  all  churches  :  "  Omnium  vrbis  et 
orbis  ecclesiarum  mater  et  caput."  Over  a  mosaic  bust 
of  Christ,  is  the  colossal  figure  of  the  Redeemer  among 
•  others  of  Apostles  and  saints — a  procession  of  great 
figures  which  can  be  seen  right  across  Rome.  Among 
the  columns  and  pilasters  which  support  the  entabla- 
ture and  balustrade,  are  five  balconies,  from  the  central 
one  of  which  the  popes  used  to  give  their  benediction. 

Vestibule.  The  church  is  preceded  by  a  vestibule  in  which 
stands  a  marble  statue  of  Constantine,  formerly  in  his 
baths  on  the  Quirinal  hill.  Five  doors  lead  from  here 
into  the  basilica.  The  central  doors  of  bronze  were 
removed  from  the  church  of  S.  Adriano  in  the  Forum, 
and  were  said  to  have  come  from  the  iEmilian  basilica. 
The  church  is  one  of  the  four  with  a  Porta  Santa, 
which  is  walled  up  according  to  custom.     The  ancient 

Nave.         nave   pillars  of  the  former   church   were   incased   in 
massive  pilasters  by  Sixtus  V.,  in  the  niches  of  which 
are  colossal  and  tasteless  statues  of  the  12  apostles; 
♦  See  Part  IV. 


THE  LATER  AN  97 

above  them,  marble  bas-reliefs  by  Algardi.  Of  the 
mediaeval  basilica,  besides  the  tabernacle,  we  still 
retain  portions  of  the  fine  Alexandrine  pavement,  and 
the  XIII.  century  mosaics  of  the  apse,  which  how- 
ever have  just  been  entirely  renewed  and  restored 
by  the  present  Pope.  At  the  extremity  of  the  nave  is 
the  High  Altar  enclosing  the  wooden  Table  of  Peter ; 
over  it  the  tabernacle  described  above.  In  the  con- 
fession is  the  tomb  of  Martin  V.  in  bronze,  the  work 
of  Simone,  brother  of  Donatello.  The  ceiling  is  from 
designs  of  Delia  Porta. 

Immediately  to  the  left  on  entering  is  the  Corsini  Left  aisle : 
chapel  built  in   1734    during   the   pontificate  of  Cle-  Corsini 
ment  XII.  (Corsini)  by  Galilei,  in  honour  of  the  saint  Chapel, 
of    that    pope's   family,    S.    Andrea   Corsini.'''      This 
chapel  is  magnificently  but  tastefully  decorated  with 
rich  and  costly  marbles,  with   bas-reliefs  and  gems. 
Over  the  altar  is  a  mosaic  copy  of  the  S.  Andrea  Corsini 
by  Guido.     The  monument  to  Clement  XII.  consists 
of  a   porphyry   sarcophagus    with    a   modern    cover, 
removed  from  the  portico  of  the  Pantheon,  where  it 
formerly  stood.     The  statue  of  the  Pope,  and  that  of 
Cardinal    Neri   Corsini,    on    his   monument  opposite, 
are  by  Maini.      The  other  figures  in  niches  are  by 
followers   of    Bernini,    and    have    no    artistic    merit. 
Beneath  this  chapel,  in  a  vault,  is  a  Pieta  by  Montanti. 
On   the   same   side,   further  up,  is  the  chapel  where 
relics  are  preserved,  and  the  seat  of  the  Cardinal  Peni- 
tentiary.    The   level   of  the   transept   or  Clementine  Transept, 
nave,  is  higher  by  some  steps  than  that  of  the  nave. 
At  the  extremity  to  the  left  is  the  Chapel  of  the  Sacra-  chapel  of 
ment,  designed  by  Paolo  Olivieri.     Here  are  four  gilt  the  Sacra- 
bronze  columns  from  the  older  basilica,  said  to  have  ment. 
been  cast  by  Augustus  from  portions  of  the  captured 
vessels   at   the   battle  of  Actium,  and  afterwards   to 
have  adorned  the  temple  of  Jupiter  on  the  Capitol. 
Above,  is  a  fresco  by  Arpino  of  the  Ascension,  and 

*  A  Florentine,  born  1302.     Lived  as  a  Carmelite  from  the  age 
of  17,  and  died  Bishop  of  Fiesole,  aged  70  years. 

7 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Choir 
chapel. 


Leonine 
portico. 

Sacristy. 


Transept. 


Tribune. 


behind  and  over  the  altar  is  preserved  a  table  said  to 
be  that  of  the  last  Supper.  It  is  of  wood,  and  was 
once  entirely  covered  with  silver.  Visitors  should  ask 
for  admittance  to  the  Benedictine  cloister,  and  if 
possible,  to  the  covered  corridor  which  runs  above  it, 
from  which  the  place  over  the  altar  where  the  table  is 
kept,  is  entered. 

Next  to  this  chapel  is  the  choir  chapel,  containing 
carved  stalls  for  the  canons,  an  altar-piece  by  i\.rpino, 
and  a  picture  of  Martin  V.  by  Gaetano.  Here,  also, 
is  a  monument  to  a  lady  of  the  Colonna  family. 

The  entrance  into  the  Leonine  portico  (another 
portion  preserved  from  the  older  church),  a  circular 
corridor  surrounding  the  tribune,  is  next  to  this.  On 
the  left  is  the  entrance  to  the  Sacristy.  On  the  wall 
here  is  a  bas-relief  found  near  the  church  of  SS.  Peter 
and  Marcellinus,  representing  the  old  basiUca  and  the 
Porta  Asinaria ;  near  this,  some  leaden  water-pipes 
bearing  the  name  Sextus  Later  anus. 

The  sacristy  contains  a  cartoon  of  Raphael's  Ma- 
donna, now  in  S.  Petersburg,  an  Annunciation  by 
Venusti,  and  a  wooden  statue  of  John  the  Baptist  by 
Donatello.  The  doors  are  of  the  xii.  century,  made 
by  artists  of  Piacenza. 

In  the  centre  of  the  portico  is  an  altar  flanked  by 
the  ancient  statues  of  Peter  and  Paul  from  the  older 
church,  and  above  it  a  crucifix,  said  to  be  by  Giotto. 
Further  on,  a  kneeling  figure  of  Pope  Boniface  VIII. 
of  the  X.  century.  In  this  gallery  are  also  kept  the 
Tabula  Magna  or  list  of  relics  and  some  mosaics 
relating  to  the  building  of  the  church. 

Close  to  the  point  where  this  gallery  re-enters  the 
transept,  is  the  great  tomb  of  Innocent  III.  (ii 98-1 216), 
erected  by  the  present  Pope  in  1892. 

The  Pope  has  also  entirely  restored  the  beautiful 
mosaics  of  the  apse,  prolonging  the  tribune  by  60  feet. 
The  mosaics,  which  are  of  the  year  1292,  represent  a 
gemmed  cross  with  a  dove  hovering  over  it ;  on  either 
side,  the  Madonna,  SS.  Peter,  Paul,  and  Francis,  and 


THE  LATER  AN  99 

John  the  Baptist,  SS.  John  Evangelist  and  Andrew. 
The  Four  Rivers  flow  from  the  mount  of  Paradise 
below,  and  at  the  feet  of  the  Madonna  kneels  Pope 
Nicholas  IV.,  the  faithful,  as  stags  and  sheep,  drink 
from  the  waters. 

At  the  right  extremity  of  the  transept  is  another 
entrance,  with  portico  designed  by  Fontana,  which  is 
that  most  commonly  used.  The  frescoes,  representing 
scenes  in  the  lives  of  Pope  Sylvester  and  Constantine, 
are  by  Cesari  and  others. 

The  chapel  in  the  right  aisle  at  this  end,  belongs  to  Right 
the  Massimo  family  ;  it  was  designed  by  Delia  Porta,  aisle, 
and  contains  a  Crucifixion  by  Sicciolante. 

Farther  down  is  the  chapel  of  the  Torlonia,  magni- 
ficently decorated,  and  containing  a  Descent  from  the 
Cross  by  Tenerani.  This  aisle  contains  the  picture  of 
Boniface  VIII.  by  Giotto  before  referred  to,  on  the 
back  of  the  third  pillar  ;  also  a  monument  to  Cardinal 
Guissano  of  the  xiii.  century,  and  some  fine  sepul- 
chral monuments  of  popes  removed  from  the  old 
basilica. 

Visitors  should  not  omit  to  pass  round  by  the  left 
from  this  transept  entrance,  to  see  the  buildings  from 
the  outside,  and  the  other  very  beautiful  view  of  the 
Campagna  from  the  terrace  there.  The  portico  at  the 
big  entrance  contains  a  bronze  statue  of  Henry  IV.  of 
F'rance  by  Cordiere,  erected  at  the  expense  of  the 
canons  of  the  Lateran  in  gratitude  to  this  King,  who 
had  bestowed  upon  them  the  monastery  of  Clerac  in 
Germany. 

Feast  day  :  of  S.  John  Baptist,  June  24  ;  of  S.  John  Evangelist, 
December  27  ;  of  dedication  of  the  basilica  of  S.  Salvatore, 
November  9. 

The  Stations  are  held  on  the  first  and  last  Sunday  in  Lent. 

BAPTISTEEY  OF  THE  LATERAN. — The  beautiful  bap- 
tistery of  the  Lateran,  called  S.  Giovanni  in  Fonte, 
and  S.  Giovanni  ad  Vestes  in  allusion  to  the  white 
dress  of  the  neophytes,  is  a  detached  building  with  an 
entrance  on  the  piazza,  and  the  original  entrance  on 

7—2 


loo       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

the  other  side  leading  to  the  ambulacrum  round  the 
apse  of  the  basilica  ;  this  had  an  internal  atrium,  and 
a  vestibule  adorned  with  porphyry  columns  and  mosaic 
of  the  IV.  and  v.  centuries.*  We  now  enter  from  the 
piazza. 
The  The   ancient   atrium   is   still   adorned   by  two  fine 

ancient       porphyry  columns ;  it  was  enclosed  as  it  now  stands 
atnum.       by  Anastasius  IV.  (1153-1154).     Here  he  placed  the 
relics   of    Rufina   and   Secunda,   in    two    sarcophagi. 
When  the  apse  of  the  Lateran  was  recently  enlarged, 
among  several  old  inscriptions  found  was,  strangely 
enough,    one    to   a   Secunda   Rufina,  of   the   imperial 
household,   placed  by  two  of  her  companions  called 
Zosimi. 
The  plan        The  baptistery  is  octagonal,  with  8  immense  por- 
of  the  bap- pi^yj.y  columns,  and  Ionic    and  Composite   capitals; 
tistery.       ^^    these  rests   an    antique  architrave,  supporting    8 
smaller   columns,    and    these   support    the   octagonal 
drum  of  the  lantern. f      The  building,  interiorly  and 
exteriorly,  retains  its  original  general  arrangement  and 
appearance,  though  the  height  was  increased  by  Pope 
Hilary.     It  has  been  repaired  several  times,  and  lat- 
terly in  the  last  century  by  Urban  VIII.  and  Inno- 
cent X.     In  the  centre  is  the  baptismal  basin  of  green 
basalt,    to   which    we   descend   by  several  steps  into 
the   veritable  circular  baptistery  in  which  it  stands. 
Sixtus  III.  (432-440),  the  first  restorer,  and  according 
to  Gregorovius,  the  original  builder,  of  the  edifice  has 
placed  an  inscription  on  the  architrave  referring  to 
baptism   and    its    spiritual   effects.      This   baptistery 
served  as  the  model  for  all  the  baptisteries  in  Italy. 
Baptism         The  uniform  tradition  of  the  Church  has  been  that 
of  Con-      here   Constantine   was   baptized   by  Pope   Sylvester, 
stantme.     jj^^g    jg    however    a   fable.       Constantine   fell   ill  at 
Helenopolis  where  he  had  gone  for  the  warm  baths, 
after    the   feast   of    the    Pasch   a.d.    337,   and    there 

*  De  Rossi,  Musaici  delle  Chiese  di  Roma. 

t  The  columns  and  architrave  are  said  to  have  been  the  gift  of 
Constantine.  * 


THE  LATER  AN  lOi 

received  the  imposition  of  hands  as  a  catechumen. 
At  Ancyrona  he  summoned  the  bishops  to  assist  at  his 
baptism,  which  he  had  delayed  with  the  excuse  that 
he  desired  to  be  baptized  in  the  Jordan.  He  was 
baptized  by  Eusebius,  who  was  confused  later  with 
Eusebius  of  Rome  or  Sylvester,  in  whose  diocese  of 
Nicomedia  he  was  then  residing.''' 

Here  Cola  di  Rienzi  bathed  the  night  before  he 
summoned  Clement  VI.  and  the  electors  of  Germany 
to  appear,  August  i,  1347,  and  before  his  coronation 
with  seven  crowns  in  the  adjacent  basilica. 

Above,  in  the  octagon  of  the  cupola  are  scenes  from 
the  life  of  John  the  Baptist  by  Andrea  Sacchi.  The 
events  in  the  life  of  Constantine  are  portrayed  on  the 
walls  by  Carlo  Maratta,  Andrea  Comasei,  and  Gia- 
cinto  Gemignani. 

Round  this  building  were  added  in  the  v.  century  chapel  of 
3  chapels  or  oratories,  erected   by   Hilary   (461-468)  S.  John 
in  thanksgiving  for  his  escape  from  the  attempts  of  Evan- 
Dioscoros  and  his  followers  at  the  Council  of  Ephesus.  ^^  '^^ 
On  the  right  is  the  Chapel  of   S.  John   EvangeUst, 
ornamented  with    ancient   mosaic   of   the  v.  century, 
representing  flowers  and  birds  on  a  gold  ground.     On 
the   vault  a  lamb  with   the  cruciform   nimbus,   a  v. 
century  ornament.    The  doors  are  of  bronze,  a.d.  1196. 
The  statue  is  by  G.-B.  della  Porta.     Opposite  is  the 
oratory  of  the   Baptist,   with  a  statue  in   bronze  by  And  of 
Valadier    (1772),    copied    from    Donatello's    wooden  S.  John 
statue   of  the    Forerunner.     Hilary   took  the  bronze  Baptist, 
doors,  it  is  said,  from  the  baths  of  Caracalla.     On  the 
internal  epistyle  of  the  doors  is  written  :  Domine  dilexi 
decorem  domus  tua.     In  the  little  apse  Hilary  has  in- 
scribed :     "To    B.   John  the   Baptist   Hilary   Bishop 
servant  of  God,  has  made  it."     In    1727  the  ancient 
mosaics  of  the  roof  and  walls  disappeared.     They  are 
described  by   Panvinius :    The    mystical    lamb  stood 
within  a    wreath   of    laurel,    birds   perched   on   olive 
trees,  and  in  the  angles  were  fishes  and  dolphins. 
*  "  Episcopus  baptizans  " 


I02       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

This  chapel  of  the  Baptist  is  not  open  to  women, 
and  the  explanation  is  that  John  met  his  death  through 
the  instrumentality  of  a  woman.  It  is  certainly  re- 
markable that  this,  which  is  the  only  instance  in  the 
entire  Gospel  of  evil  suffered  at  women's  hands,  and 
then  not  in  direct  reference  to  Christ  Himself,  should 
have  been  seized  on  to  point  a  moral  and  adorn  a  tale  ; 
and  in  such  a  way  as  to  upset  our  ethical  balance,  and 
destroy  in  the  popular  mind,  by  a  silly  conceit,  the 
singularly  beautiful  picture  of  the  Baptist's  life.  It  is 
not  only  impossible  to  imagine  why  Salome  was  more 
culpable  than  Herod,  but  S.John's  sanctity  is  especially 
connected  with  that  of  his  holy  mother,  and  of  Mary. 
This  exquisite  gospel  poem  has  not  however  been 
allowed  to  counterbalance  the  action  of  Herod's  ballet- 
dancer. 
Third  Of  the  third  chapel  dedicated  to  the  Cross,  preceded 

chapel        by  a  triporticum,  no  trace  has  been  left.'''     It  is  men- 
Hikrv       tioned   in  the  inscription  recording  the  Donation  of 
Matilda,  1059. 

It  has  been  conjectured  that  the  chapels  to  the  two 
S.  Johns  may  have  originated  the  later  dedication  of 
the  Basilica. 

On  the  bronze  door  of  the  baptistery,  nickelled  silver, 
Hilary  has  placed  the  words  :  In  honorem  S.  I.  Bap- 
tistce  Hilarus  Ep.  Dei  famulus  offert. 

A  bishop  has  always  baptized  in  this  baptistery  on 
Easter  eve.f 

*  "  Oratoria  tria  in  baptisterio  basilicas  Constantinianae  .  .  . 
et  triporticum  ante  oratorium  Sanctae  Crucis  ubi  sunt  columnae 
mirae  magnitudinis "  Lib.  Pont,  in  Hilaro.  At  the  confession 
in  the  centre,  Simmachus  placed  a  piece  of  the  true  cross.  It 
had  four  apses,  and  the  fa9ade  was  cruciform,  the  roof  covered 
with  mosaic.  Sixtus  V.  ruthlessly  destroyed  it  to  build  the  adja- 
cent palace,  gemente  urbe,  the  city  sorrowing,  says  Ugonio. 

t  The  apsidal  portico  is  called  Chapel  of  SS.  Rufina  and 
Secunda.  Anastasius  placed  an  altar  over  their  sepulchres  in  the 
left  apse  of  the  portico.  A  picture  represents  Christ  crowning 
the  two  saints.  The  decoration  in  mosaic  is  a  repetition  of  the 
Latin  cross,  and  De  Rossi  conjectures  that  here  the  pope  made 


THE  LATER  AN  103 

In  the  line  of  procession  from  the  ambulacrum  of  S.  Ve- 
the  basilica  to  the  baptistery,  is  the  Chapel  of  S.  Venan-  nanzio. 
tius.  It  was  dedicated  by  John  IV.  (640-642),  who 
transported  the  martyr's  relics  from  his  native  Dalmatia. 
The  chapel  forms  the  Vestibule  to  the  baptistery.  A 
picture  represents  Venantius  and  other  Dalmatian 
martyrs  whose  relics  rest  here.  On  the  arch  are  Mosaics 
the  4  EvangeUsts'  emblems,  and  8  saints,  4  on  each 
side.  In  the  tribune  Christ  is  represented  with  raised 
hand  between  two  angels ;  below  is  the  Blessed 
Virgin  draped  in  blue,  her  arms  raised  orante-wisc. 
Then  8  Roman  and  Dalmatian  saints :  Peter  with 
the  keys  and  a  banner-cross,  Paul  with  the  Gospel, 
John  the  Baptist  and  Evangelist,  Venantius  and 
Domnus,  the  Bishop  of  Salona,''^  and  the  figure  of 
John  IV.  The  other  figure  on  the  right  may  represent 
Theodorus,  who  completed  the  chapel.  There  is  an 
inscription  underneath. 

This  oratory  was  erected  to  Dalmatian  martyrs, 
as  a  sort  of  monument  to  the  cessation  of  the  Istrian 
schism. 

A  ceremony  took  place  here  on  Easter  Day,  after 
the  singing  of  the  three  vespers.  The  architriclinus 
presented  the  Pope  with  a  cup  of  wine  in  this  vestibule, 
and  while  he  drank,  a  Greek  sequence  was  sung.  The 
cantores  then  kissed  the  pontiff's  foot,  and  he  then  made 
them  all  drink  out  of  the  same  chalice. 

In  the  Patriarchium,  intra  episcopiurn  Lateranense,  there 
were  several  other  basilicas  and  oratories  :  near  the 
Scala  Santa  was  the  Basilica  Theodori  built  by  that 
Pope;  a  ix.  century  oratory  dedicated  to  "the  Mother 
of  God,"  the  x.  century  church  of  S.  Thomas  in  the 

the  sign  of  the  cross  with  the  chrism  on  the  foreheads  of  the  newly 
baptized.     Thus  Prudentius  sings  : 

Castibus  aut  magnis  Lateranas  currit  ad  ades 
Unde  sacrum  referat  regali  chrismate  signum. 
*  Salona,   in   Dalmatia,   was  destroyed    in   the   time   of    the 
Dalmatian  Pope,  John   IV.,  by  the  barbarians.      He  removed 
the  relics  of  the  Dalmatian  martyrs  here. 


104       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

ancient  portico ;  and  5.  Silvestro  in  Laterano  mentioned 
in  the  notice  of  Pope  Theodore.  Here  on  Holy  Thursday 
the  Pope  supped  after  the  washing  of  the  feet ;  and  here 
the  new  Pope  took  possession  of  the  Lateran  Palace. 

Pope  Hilary  built  a  church  to  the  proto-martyr, 
with  a  monastery  where  the  children  were  trained  to 
sing.  In  the  xiv.  century  it  was  in  a  falling  con- 
dition, and  was  still  known  as  S.  Stephanus  de  Schola 
Cantorum.  It  stood  near  the  baptistery.  On  the 
site  of  the  old  Lateran  sacristy  stood  5.  Pancratitis, 
built,  with  a  monastery,  by  the  monks  who  fled  from 
Monte  Cassino,  a.d.  528.  Theodore,  Gregory  11. , 
Adrian,  and  CaUxtus  II.,  added  other  oratories  and 
churches. 

SANCTA  SANCTOBTTM  or  S.  Lorenzo  in  Palatio.  This 
little  chapel,  at  the  head  of  the  Scala  Santa,  is  the 
original  private  chapel  of  the  popes,  which  used  to  stand 
History,  within  the  Lateran  Palace.  Its  name  of  Sancta  Sanc- 
torum is  derived  from  the  words  carved  by  Leo  III. 
(795-816)  upon  the  chest  of  cypress  wood  in  which  the 
relics  are  kept. 

The  chapel  dates  probably  from  the  vi.  century, 
when  it  was  erected  to  receive  the  relics  brought  by 
Gregory  the  Great  from  Constantinople.  This  is 
referred  to  in  a  life  of  Gregory  IV.  (827-844),  and 
the  chapel  is  mentioned  as  "  S.  Laurentius "  in  the 
Liber  Pontificalis  of  Stephen  III.  (768-772).  Com- 
pletely restored  by  Honorius  III.,  but  damaged  by  an 
earthquake  soon  afterwards,  it  was  nearly  rebuilt  by 
Nicholas  III.  (1277-1281).  Most  of  the  painting  and 
decoration  dates  from  this  time,  and  an  inscription  : 
*  Magister  Cosmatus  fecit  hoc  opus,'  shows  that  the 
great  marble  workers,  the  Cosmati,  were  employed  by 
Nicholas  III.  in  his  restorations.* 

The  chapel  is  square  in  form,  and  to  a  certain 
extent  Gothic  in  style.  A  marble  dado,  in  which  are 
marble  seats,  decorates  the  lower  portion  of  the  walls  ; 
above  they  are  divided  into  compartments  by  small 


THE  LATER  AN  \o^ 

twisted    pillars   upon    marble    bases.      There   are    28 
of  these  divisions,  each  decorated  with  frescoes,  repre- 
senting  in   the   centre,  the   Madonna   and   Child,   on 
either  side,  the  two  S.  Johns,  the  12  Apostles  and  4 
Evangelists,  Isaiah  and  David.     The  vault  of  the  roof  Roof, 
is   supported   upon   4   acute   arches,  resting   upon   4 
gilded  pillars   in   the   4  corners.     In  the   arches  are 
the  emblems  of  the  Evangelists   upon  a  blue   field. 
In  the  8  lunettes,  SS.  Peter  and  Paul,  with  a  pope 
between  them,  probably  Nicholas  III. ;  Christ  on  a 
throne,  the  martyrdoms  of  Peter  and  Paul,  of  Stephen 
and    Laurence,    and    two    scenes    from    the    life    of 
S.  Nicholas  of  Mira.     The  pavement  is  of  beautiful  Pave- 
cosmatesque   work,   and  light  enters  through  grated  ment. 
windows.     The  sanctuary  of  the  chapel  is  in  portico  Sane- 
form,  with  four  porphyry  columns  supporting  an  archi-  tuary. 
trave  upon  which  is  the  inscription,  "  Non  est  in  toto 
sanctior  orbe  locus."* 

The  vault  of  this  portion  of  the  chapel  is  decorated 
with  mosaics  representing  the  Redeemer  between  four 
angels.  In  the  lunettes,  the  busts  of  Peter,  Paul, 
S.  Agnes,  S.  Laurence,  S.  Nicholas,  S.  Stephen,  with 
their  names  written  beside  each. 

The  altar  is  of  white  marble,  and  is  surrounded  by  Altar. 
an  iron  grating.     In  front,  are  two  metal  doors  orna- 
mented with  bas-reliefs  of  SS.  Peter  and  Paul ;  beneath 
the  altar  is  an  inscription  which  states  that  it  was  placed 
here  by  Innocent  III.,  and  the  doors  by  Nicholas  III. 

Above  the  altar  is  the  celebrated  picture  of  Christ  picture  of 
painted  upon  wood,  and  completely  covered,  with  the  Christ, 
exception  of  the  face,  with  plates  of  silver  by  Inno- 
cent III.  This  picture  has  been  venerated  since  the 
pontificate  of  Stephen  III.,  the  first  historical  mention 
of  it  being  in  752.  It  is  unknown  at  what  date  it  was 
brought  to  Rome,  possibly  by  Germanus  Patriarch 
of  Constantinople,  during  the  iconoclastic  disputes. 
P.  Garrucci  suggests  that  it  may  be  the  image  men- 
tioned by  S.  Gregory  of  Nyssa,  and  possibly  a  copy  of 
*   "  There  is  not  in  the  whole  world  a  place  more  holy." 


io6       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

the  Edessa  image,  now  in  S.  Bartholomew  of  the 
Armenians  at  Genoa,  supposed  to  have  been  sent  by 
Christ  to  King  Agbar.  It  resembles  this  latter,  and 
both  are  painted  upon  wood  as  far  as  the  beard,  the 
rest  upon  fine  canvas.  These  are  the  two  most 
venerated  of  the  many  paintings  whose  prototype  was 
said  by  Moses  Coronese  the  Armenian  (in  the  v. 
century),  to  have  been  painted  by  no  human  hand." 
They  are  hence  called  acheiropoieton.  The  painting 
represents  a  head  with  a  short  beard,  a  nimbus  com- 
pletely round  the  face  and  hair,  like  a  cap. 

This  picture  was  carried  by  Pope  Stephen  III. 
through  the  streets  of  Rome  in  solemn  procession,  to 
implore  Divine  assistance  during  the  Lombard  in- 
vasions ;  and  one  of  the  most  ancient  customs,  said  to 
have  been  instituted  by  Sergius  II.  (844),  was  to  carry 
the  picture  to  S.  Maria  Maggiore  on  Ascension  day. 
The  pope  and  the  people  of  Rome  took  part  in  the 
procession,  and  at  intervals  the  feet  of  the  image  were 
bathed  in  basilic  water.  The  idea  of  this  quaint 
custom,  was  to  approach  the  picture  of  the  Son  to  that 
of  the  Mother,  and  thus  to  appeal  to  their  grace  and 
intercession.  The  ceremony  was  abandoned  in  the 
XVI.  century. 

Until  the  xi.  century,  the  Pope  washed  the  feet  of 
12  poor  persons  in  this  chapel  on  Holy  Thursday,  and 
on  Easter  Day  came  to  kiss  the  feet  of  the  image  three 
times,  repeating  each  time  "  Surrexit  Dominus  de 
sepulchro." 

Three  other  altars  in  the  chapel  contain  relics. 

The  picture  in  the  chapel  is  exposed  from  the  eve 

of  Palm  Sunday  to  the  third  Sunday  after  Pentecost. 

At  these  times,  men  may  obtain  an  entrance  into  the 

chapel,  which  is  usually  closed,  but  entry  to  this,  held 

to  be  one  of  the  most  sacred  spots  in  Rome,  is  still 

forbidden  to  women. 

Scala  In    the    xvi.    century,    Sixtus   V.    moved    to    this 

Santa.        chapel  the  Scala  Santa,  or,  as  they  were  called  in  the 

•  Storia  dell'  Arte  Christ.,  i.  408. 


THE  LATER  AN  107 

middle  ages,  the  Scale  di  Pilato,  which  formerly  led  to 
the  Council  Hall  of  the  palace.  It  is  said  by  tradi- 
tion that  this  flight  of  28  marble  steps  was  brought 
from  Pilate's  house  in  Jerusalem  by  the  Empress 
Helena,  and  that  Christ  Himself  ascended  them.  Our 
earliest  record  of  them,  in  fact,  dates  from  the  middle 
ages.  Their  ascent  now  is  only  permitted  upon  the 
knees,  and  the  wooden  protection  to  the  marble  steps 
has  been  often  completely  worn  away  and  renewed. 
There  are  two  parallel  flights  for  the  descent.  All 
three  are  preceded  by  a  portico  of  four  columns,  erected 
by  Sixtus  W  from  Fontana's  designs,  and  enclosed 
with  glass  by  Pius  IX.  At  the  foot  of  the  stairs  are 
two  figures,  representing  Christ  betrayed,  with  the  in- 
scription :  "  Osculo  filium  homhiis  tradis,''  and  an  Ecce 
Homo,  with  the  words :  Haec  est  hora  vestra  et  potestas 
tenebrarum.     These  statues  are  by  Jacometti. 

THE  LATEEAN  MUSEUM,  or  Museo  Gregoriano-Lateran-  The 
ense,  is  in  the   Palace  built  by  Sixtus  V.  from  the  Christian 
designs  of  Fontana,  on  the  site  and  ruins  of  the  old  '  "^^""^■ 
Lateran  palace  or  Patriarchium.     This  was  made  into 
a    Hospital    in    1693    by    Innocent    XII.      In     1843 
Gregory  XVI.  converted  it  into  the  Christian  Museum, 
which  was  arranged  by  Pius  IX.  under  the  direction 
of  P.  Marchi,  and  its  interest  much  enhanced  by  its 
recent  curator  commendatore  De  Rossi,  who  arranged 
and  classified  all  the  inscriptions  from  the  catacombs 
on  the  walls  of  the  great  Loggia.     We  now  enter  the 
palace  by  a  door  near  the  principal  entrance  to  the 
church.     On  either  side  of  the  great  (second)  flight  of 
stairs,  leading  up  from  the  Cortile,  are  arranged  the 
early  Christian  sarcophagi/'-     The  large  sarcophagus  at  First 
the  bottom  of  the  staircase  was  found  near  the  con-  sarco- 
fession  of  S.  Paolo  Fuori,  while  the  foundations  were  P^^^-g^^- 
being  dug  for  the  baldacchino  columns.     It  is  referred 
to  the  period  of  the  Theodosian  edifice,   late  iv.  cen- 
tury. 

*  The  ground  floor  contains  pre-Christian  sculpture. 


io8       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

The  centre  is  occupied  by  two  busts  of  the  deceased, 
man  and  wife,  unfinished.  Upon  the  upper  tier  of  reUefs 
on  the  left  is  portrayed  a  seated  figure  in  the  act  of 
benediction,  with  others  behind  and  in  front,  supposed 
to  represent  the  Trinity ;  in  a  second  reUef  Christ 
presents  Eve  to  the  Eternal  Father ;  a  third  has  Christ 
with  Adam  and  Eve,  and  the  serpent.  On  the  other 
side  is  represented  the  change  of  water  into  wine,  the 
miracle  of  the  loaves,  and  the  resurrection  of  Lazarus. 
Christ  holds  forth  a  rod  towards  Lazarus,  represented 
as  a  mummy,  and  Martha  kneels  below.  This  is  the 
usual  treatment.  In  the  lower  tier,  are  the  Madonna 
and  child,  with  3  magi  in  Phrygian  caps  ;  the  blind 
man  restored  ;  Daniel  in  the  den  of  lions  (Habbacuc 
stands  with  a  food  pot  beside  him) ;  Christ  denied  by 
Peter  ;  Peter  made  prisoner  by  the  Jews,  who  wear 
the  round  Hebrew  cap  ;  Moses  striking  the  rock,  the 
Hebrews  drinking  of  the  water. 

Of  the  22  other  sarcophagi,  those  on  the  left  ascend- 
ing are  the  finest,  and  consist  of  high  reliefs  represent- 
ing the  usual  subjects  treated  in  Christian  sculpture. 
Sarcophagi  are  almost  the  sole  representatives  of  early 
The  sub-    Christian  plastic  art.     These  subjects  are  :    the  Good 
jects  re-      Shepherd  ;  Adam  and  Eve  ;  the  Sacrifice  of  Abram  ; 
presented.  Moses  striking  the  rock,  receiving  the  Law,  and  re- 
moving the  shoes  from  his  feet ;  the  three  children  m 
the  furnace  ;  the  Jonah-cycle  ;  the  manna  in  the  wilder- 
ness ;  the  multiplication  of  the  loaves ;  the  change  of 
water  into  wine ;    the   resurrection  of  Lazarus ;    the 
Haemorrhoissa  ;  the  blind  man  healed  ;  the  paralytic. 

Sculpture  was  not  a  Christian  art  till  the  time  of 
Constantine.  Hence  all  sarcophagi  with  Christian 
subjects  are  of  the  iv.  and  v.  centuries  (see  Cata- 
combs, p.  408). 

In  the  hypogeum  of  Lucina  (catacomb  of  Callistus) 
a  sarcophagus  bought  at  the  usual  pagan  workshop 
was  found,  having  a  bacchanalian  scene  depicted  on 
one  side,  which  is  turned  to  the  wall ;  the  rough  side 
is  outAvards  and  is  inscribed  "  Irene."     We  find  also  the 


THE  LATER  AN  109 

subject  of  Ulysses  tied  to  the  mast  passing  between  the 
sirens  Scylla  and  Charybdis — a  symbol  early  adapted 
by  Christianity  of  which  Clement  of  Alexandria  says : 
"  Sail  past  the  song,  it  works  death  ,  .  .  bound  to 
the  wood  of  the  cross  thou  shalt  be  freed  from  destruc- 
tion." 

On  the  right  of  the  stairway  a  sarcophagus  has  this  Inscrip- 
inscription  in  Greek  :  "  Paulina  lies  here,  in  the  place  ^°"^  °" 
of  the  blessed,  whom  Pacata  buried,  she  being  her  phagi' 
sweet  and  holy  nurse  in  Christ.  (XPw.)"* 

A  very  ancient  tomb  from  Lucina's  hypogeum, 
which  De  Rossi  thinks  may  have  been  of  Apostolic 
date,  has  :  Blastiane  pax  tecum.  A  husband  inscribes  on 
the  sarcophagus  to  his  wife,  "  Furia,  my  sweet  holy 
soul." 

The  tenth  on  the  left  should  be  noticed.  The  reliefs 
are  in  panels  between  columns  ;  the  Redeemer,  the 
sacrifice  of  Abram,  resurrection  of  Lazarus,  and  the 
early  Christian  symbols  above.  At  either  side  is 
represented  a  town,  with  temples  and  dwellings  having 
glazed  windows.  The  sarcophagus  is  under  a  canopy, 
with  two  pavonazzetto  columns,  as  the  sarcophagi 
used  to  stand  in  the  atria  of  basilicas. 

At  the  top  of  the  stairs  is  a  bas-relief  representing 
Elijah's  ascent  to  heaven  in  a  four-horsed  chariot ; 
Elisha  receives  his  mantle.  This  is  a  favourite 
symbolical  subject.  It  formed  the  front  of  a  sarco- 
phagus of,  perhaps,  the  early  iv,  century. 

Immediately  facing  us  at  the  head  of  the  stairs  is  Hippo- 
the  finest  example  of  early  Christian  sculpture  which  lytus. 
has  been  preserved  to  us.  It  is  the  seated  statue  of 
S.  Hippolytus,  and  is  believed  to  be  contemporaneous 
with  that  great  doctor  of  the  church  who  lived  a.d. 
240.+  On  the  left  side  of  the  chair  is  engraved  a  list  of 
his  writings,  on  the  right  the  Paschal  computation 
arranged  by  Hippolytus  about  a.d.  223,  both  in  Greek. 
The  head  is  modern. 

*  From  the  ca.ta.comh  Jordanorum ,  on  the  Salaria. 
t  See  Catacomb  of  Hippolytus,  Chap.  X. 


no       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Reproduc-      Turning  to  our  left,  a  door  before  us  leads  to  two 
tions  small  rooms,  in  which  are  placed  reproductions  of  the 

catacomb  paintings.  The  scene  of  the  adoration  of 
the  magi,  in  which  four  magi  appear,  is  from  the 
Catacomb  of  S.  Domitilla,  and  is  held  to  date  from 
the  end  of  the  ii.  century.  The  third  room  con- 
tains the  frescoes  taken  from  the  walls  of  S. 
Agnese  Fuori,  attributed  to  the  Cosmati,  xiv.  century. 
Others,  which  represent  birds  and  prophets  may  be 
of  the  X.  century ;  they  come  from  the  crypt  of 
S.  Niccolo  in  Carcere.  [The  large  hall  to  the  left  as 
we  come  out  of  these  rooms  contains  on  the  pavement 
the  great  mosaic  from  the  baths  of  Caracalla,  the 
Athletes.  Eight  rooms  and  the  Council  Hall,  all 
containing  pictures,  follow.]  To  our  right  runs  the 
Loggia,  round  which  are  placed  the  catacomb  in- 
scriptions. Each  compartment  is  inscribed  with  the 
name  of  the  catacomb  from  which  the  inscriptions 
come,  and,  where  this  is  possible,  with  the  date.  One 
compartment  contains  the  inscriptions  of  Damasus, 
chiefly,  however,  in  facsimile. 

[The  third  floor  contains  the  series  of  casts  from 

Trajan's  column,  ordered  by  Napoleon  III.     There  is 

a  fine  view  from  the  top  terrace  across  the  Campagna 

to  the  Sabine  hills,  and  over  part  of  the  city.] 

S.  John  s.  JOHN  was  regarded  for  15  centuries  as  the  greatest 

t^e  of  the  saints,  and  in  the  East  he  still  retains  this  place. 

aptist.      jjg   jg   always   represented   in  early  art  next  to   the 

Madonna   herself.      In   the  Confiteof  John   is   named 

after   Mary  and   the   archangel  Michael,  and   before 

the  Apostles  Peter  and  Paul. 

It  is  of  course  easy  to  understand  this.  Christ  had 
said  that  of  those  born  of  women  none  was  greater 
than  John  ;  the  name  of  his  mother  had  been  men- 
tioned by  the  angel  at  the  Annunciation  ;  Mary's  first 
act  had  been  to  visit  her,  and  John's  life  had  begun 
with  this  visitation  of  "  Mary  bringing  Jesus  with  her." 
It  was  believed  Jesus  and  John  had  grown  up  together. 
John  is  the  first  to  point  to  the  Lord  as  the  Messiah, 


THE  LATER  AN  ill 

and  more  than  this  he  points  to  what  is  hidden  and 
mystical  in  that  presence,  "  Behold,"  he  says,  "  the 
lamb  of  God."'''  As  the  "  Baptist,"  it  is  he  who  foretells 
the  baptism  of  the  Spirit,  and  he  baptizes  Christ,  and 
sees  the  likeness  of  a  dove  descend  upon  Him.  To 
him  is  applied  the  beautiful  first  chapter  of  Jeremiah's 
prophecy.  Finally,  the  two  most  lovely  of  Christian 
canticles  are  spoken  at  the  time  of  his  birth,  Zachary's 
Beyiedictus  and  Mary's  Magnificat. 

s.  JOHN,  "  that  disciple  whom  Jesus  loved,"  the 
brother  of  James  the  Greater,  was  with  him  surnamed 
Boanerges,  "  thunderers,"  by  Christ. 

He  was  the   only  one   of  the    Lord's  apostles   to  5  10^^ 
follow  Him  to  Calvary,  and  stand  by  Mary  and  the  the 
Holy  Women  at  the  cross  ;  and  Christ  bestows  on  him,  Apostle 
as  representative  of  the  faithful,  the  last  gift  He  has  ^"4  ^van- 
to  bestow  on  His  Church,  "  Ecce  mater  tua  "  :  behold  ^®  ^^  ' 
thy  mother. 

According  to  tradition  John  founded  all  the  Churches 
of  Asia  and  ruled  them,  being  the  first  bishop  of 
Ephesus.  He  is  said  to  have  been  in  Rome  in  the 
time  of  Nero.  He  outlived  all  the  other  Apostles, 
dying  a.d.  98,  and  was  buried  near  Ephesus. 

S.  John  is  sometimes  represented  as  an  old  man 
repeating  to  his  disciples  and  to  little  children  the  one 
commandment  he  is  said  to  have  never  tired  of 
reiterating  :  "  My  little  children,  love  one  another." 

*  These  words  are  said  to-day  by  the  priest  just  before  giving 
the  Eucharist  to  others. 


CHAPTER  VI. 

S.  Paolo  Fuori — Old  basilica — Present  basilica — Cloisters — 
Tre-Fontane. 

S.  Paolo  Fuori. — This  great  Christian  monument, 
the  Basilica  Ostiensis,  which  was  visited  by  pilgrims 
next  after  the  Vatican,  and  was  one  of  the  greatest 
treasures  of  Christendom  until  the  xix.  century,  has 
shared  with  that  sanctuary  its  many  sackings  and  mis- 
fortunes. 
History.  Before  the  Peace  of  the  church  there  existed  on 
this  site,  which  is  about  ij  miles  beyond  the  walls  of 
Rome  upon  the  Via  Ostia,  a  tropcsum  or  sepulchral 
monument  over  the  spot  where  Lucina  buried  the 
body  of  Paul.  There  Constantine  founded  a  basilica, 
so  tradition  and  the  Liber  Pontificalis  assert :  "  Fecit 
basilicam  S.  Paulo  apostolo  cuius  corpus  recondidit  in 
area  et  conclusit  sicut  S.  Petri." — "  He  made  a  basilica 
to  Paul  the  Apostle,  whose  body  he  placed  in  a  chest 
and  closed,  as  he  did  that  of  S.  Peter." 

That  some  work  was  begun  here  in  honour  of  the 
Apostle  by  Constantine  seems  to  be  confirmed  by  the 
engraved  stone  found  over  Paul's  sarcophagus,  the  date 
of  which  is  Constantinian  ;*  but,  in  a.d.  386,  the  three 
Emperors,  Valentinian,  Theodosius,  and  Arcadius, 
ordered  the  consul  Sallustrius  to  commence  a  great 
basilica  on  the  same  site. 

The  work  was  continued  after  392  by  Theodosius, 
Arcadius  and  Honorius,  and  the  last-named  Emperor 

*  See  Catacomb  of  Lucina,  Chap.  X. 


5.  PAUL'S  113 

completed  it.  Galla  Placidia,  daughter  of  Theodosius,* 
contributed  to  the  work  later,  Theodosius  capit  perfecit 
Hotwrius  we  still  read  over  the  great  tribune  arch, 
together  with  the  commemoration  of  Placidia's  help. 

But  one  of  the  most  interesting  records  of  the  work 
there  undertaken,  is  engraved  upon  a  bronze  tablet, 
pierced  on  either  side  for  suspension  round  some 
animal's  neck,  probably  a  sheep-dog.  The  inscription 
was  edited  by  Muratori,  but  has  only  been  explained 
by  De  Rossi ;  it  runs  as  follows  : 

AD    BASILICA    APOS 

TOLI    PADLI    ET 

DDD    NNN 

FILICISSIMI    PECOR 

"  Ad  basilicam  Apostoli  Pauli  et  trium  dominorum  nostrorum 
Felicissimi  pecorarii." 

The  tablet  must  have  been  attached  to  the  collar  of 
the  sheep-dog  of  a  tenement  belonging  to  the  basilica, 
to  which,  and  to  the  shepherd  Felicissimus,  the  dog 
belonged.  This  takes  us  back  to  "  our  three  lords," 
the  three  emperors,  and  to  the  time  of  their  building 
the  basilica  of  S.  Paul. 

In  the  VI.  century  a  certain  Eusebius  restored  the  vi.  cen- 
cemetery,  meaning  the  basilica  buildings.  This  in-  *^"''y- 
eluded  erecting  porticoes  with  columns  and  paintings ; 
restoring  the  roof  and  the  adjacent  baths,  which  were 
frequently  attached  to  the  old  basilicas  ;  making  con- 
duits for  the  water,  and  repairing  the  metisa  stones  on 
the  tombs  of  the  martyrs. 

*  Theodosius  was  the  Emperor  baptized  in  383-387,  who  placed 
Gregory  Nazianzen  on  the  episcopal  throne  of  Constantinople. 
He  was  the  author  of  the  celebrated  edict  condemning  all 
religions  but  the  Christianity  of  the  Theodosian  code,  and  was 
refused  admission  to  the  Church  at  Milan  by  Ambrose  in  a.d.  390, 
after  the  massacre  at  Thessalonica.  Galla  Placidia  was  his 
daughter  by  his  first  wife  Galla,  daughter  of  Valentinian  I. 
She  was  therefore  sister  to  the  two  Emperors  Arcadius  and 
Honorius.  She  was  a  hostage  in  the  hands  of  Adolphus  the  Goth, 
whom  she  married  in  414. 


114       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

viii.  In  the  VIII.  century  Leo  III.  confided  the  work  of 

century,  the  restoration  of  the  basiUca  to  Felix  a  priest,  and 
to  Adeodatus  a  Levite.  Annexed  to  the  basihca  was 
a  great  monastery,  and  around  it  minor  basilicas, 
oratories  and  other  buildings,  giving  it  the  appearance 
of  a  little  township,  as  was  the  case  with  S.  Peter's 
and  S.  Laurence,  while  a  continuous  colonnade  joined 
it  to  the  city.  Being  placed  however  on  the  borders 
of  the  river,  it  was  open  to  the  incursions  of  the 
Saracens,  and  in  880  John  VIII.  surrounded  it  with 
fortifications,  and  the  place  became  entitled  Joannipolis, 
John's  town.*  A  fragment  of  the  inscription  over  the 
principal  gateway  of  this  township  may  still  be  seen 
affixed  to  the  walls  of  the  monastery  corridor. 

In  the  pontificate  of  Leo  IV.  (847-855)  and  Bene- 
dict III.  (855-858)  the  Saracens  sacked  the  church. 

In  937  Alberic  confided  the  government  of  the 
church  and  monastery  to  Odo  of  Cluny.  Odo  took 
with  him  other  brethren  to  restore  the  relaxed  dis- 
cipline of  the  house,  and  proposed  Baldwin  of  Monte 
Cassino  for  its  superior. 

At  the  moment  when  Hildebrand  ascended  the  throne 

of  Peter  as  Gregory  VII.  (1073-1087),  he  was  Prior 

of  S.  Paul's,  and  to  him  are  due  the  restorations  of 

that  epoch  ;  but  with  each  successive  restoration  the 

original   type  of  a   great   basilica  was   preserved,  of 

which   S.  Paul's  came  to  present  the  only  instance, 

S.  Peter's  having  given  place  in  the  xvi.  century  to 

the  present  edifice. 

Descrip-         Its  dimensions  exceeded  those  of  old  S.  Peter's.     A 

tion  of  old  nave  and  four  aisles  were  divided  by  four  rows  of 

churc  .      twenty  columns  each,  brought  from  ancient  buildings. 

The  walls  were  of  marble,  and  the  roof  of  undecorated 

beams,    was   covered   with   bronze   tiles.      The   nave 

terminated  with  the  immense  and  beautiful  arch  erected 

by  Galla  Placidia,  who  placed  here  the  two  fine  Ionic 

•  In  the  time  of  Gregory  VII.  it  is  still  called  casUllum  S.  Pauli 
quod  vacatur  J oannipoUm,  and  is  mentioned  in  a  document  of  that 
Pope's  time,  1074.     It  was  over  two  miles  in  circuit. 


5.  PAULS  115 

columns    of    Greek    marble    which    still    sustain    it. 
It  was  decorated  with  mosaics  of  the  v.  century. 

The  great  bronze  doors,  silvered  over,  were  cast  at  Doors. 
Constantinople,  in  1070,  by  the  artist  Stauracios,  by 
order  of  the  abbot  Hildebrand.* 

In  the  whole  basilica  there  were  138  columns,  the 
finest  collection  in  the  world.  Upon  the  entablature 
above  the  columns  was  a  series  of  portraits  of  all  the 
popes  from  Peter.  In  the  xvii.  century  however, 
nothing  remained  of  those  upon  the  east  wall,  and 
those  upon  the  north  had  nearly  all  disappeared. 

The  great  arch  was  decorated  with  mosaics  repre- 
senting a  colossal  figure  of  Christ  with  a  sceptre  in 
His  hand,  the  emblems  of  the  evangelists  on  either 
side  ;   below  the  twenty-four  elders,  Peter  and  Paul. 

In  the  visitation  of  Urban  VIII.  we  read  that  the 
church  was  preceded  by  an  ample  quadviporticus,  just 
destroyed  at  that  epoch.  Portions  of  the  colonnade 
which  joined  it  to  the  city  were  then  still  standing.  Of 
the  five  doors  into  the  basilica  only  one,  the  central, 
was  in  use.f 

Prudentius  describes  the  glory  of  the  church  and  its 
riches  during  the  reign  of  Honorius. 

For  1,500  years  the  Christian  Liturgy  had  been  cele- 
brated in  the  basilica  of  S.  Paul,  which  continued  to  be 
one  of  the  greatest  of  Christian  shrines  in  Rome — second 
only,   as  we  have  seen,  to  S.   Peter.     The  kings  of 

*  These  survived  the  great  fire  of  1823,  but  were  much  injured. 
What  remains  of  them  may  be  seen  in  the  cloister.  They  were 
divided  into  compartments,  in  which  were  scenes  in  the  life  of 
Christ,  figures  of  prophets,  martyrs  and  saints.  The  technique 
is  not  bas-relief,  but  a  drawing  on  bronze.  Silver  and  gold 
lines  were  inserted,  which  suffered  by  fire  and  theft. 

In  the  time  of  Innocent  VII.  (1404-1406)  and  the  great  schism, 
on  that  Pontiff's  return  to  Rome,  Antonius  Petrus,  in  his  diary 
states  :  "  That  he  went  to  S.  Paul's  Church  on  the  feast-day, 
June  30,  and  found  it  a  stable  for  the  horses  of  the  Pope's 
soldiers.  No  place  was  empty  save  the  chapel  of  the  High  Altar 
and  the  tribune.  There  was  no  control  kept,  either  over  the 
Romans  or  the  soldiery." 

t  "Acta  Visit.  Sub  Urb.  VIII. " 

8—2 


Ii6       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

England  were  its  protectors  until  the  Reformation, 
and  when  the  campanile  was  taken  down  silver  coins 
from  more  than  seventy  mints  of  Europe  were  found. 

On  July  17,  1823,  this  great  sanctuary  was  burnt  to 
the  ground.     The  pine-roof  caught  fire  and  fell  into 
the  nave.     Even  the  columns  were  calcined  and  split. 
Recon-  From  this  time  the  Catholic  sovereigns  of  Europe, 

struction.  and  pope  after  pope,  gathered  together  material  and 
treasure  for  its  reconstruction.  In  1840  the  com- 
pleted transept  and  high  altar  were  consecrated  by 
Gregory  XVI.,  and  the  entire  basilica  by  Pius  IX.  in 
December  1854,  prelates  from  every  part  of  Christen- 
dom assisting. 

The  dimensions  of  the  Honorian  church  have  been 
carefully  preserved.  Of  the  ancient  church  there  re- 
main the  great  arch  and  columns  ;  the  series  of  papal 
portraits  on  the  south  wall,  which  was  untouched ;  a 
portion  of  the  bronze  doors,  forty  of  the  columns, 
and  some  sarcophagi  with  bas-reliefs ;  of  the  church 
of  the  middle  ages,  some  mosaics  on  the  great  fa9ade, 
and  the  Paschal  candelabrum.  On  this  last  are  some 
rude  representations  of  the  Passion,  inscribed  with  the 
names  of  Nicholas  de  Angelo,  and  the  noted  Peter 
Vassallectus  (xn.  century).  This  now  stands  in  the 
south  transept. 
Papal  The  medallions  of  the  popes  are  naturally  not  por- 

portraits.  traits  as  regards  the  earlier  members  of  the  series. 
Forty-three  of  the  original  remain — namely,  those  from 
Peter  to  Innocent  I.  (402-417),  including  Felix  II. 
Those  which  still  existed  on  the  north  wall  at  the  time 
of  the  fire  are  preserved  for  us  in  copy  in  a  codex  in 
the  Barberini  Palace  (1634).  ^^  ^^^  sixth  place  is  the 
.antipope  Laurentius,  and  De  Rossi  points  out  that 
this  dates  the  series,  as  Laurentius  could  only  have 
been  inserted  while  he  claimed  the  see — i.e.,  during 
the  hfe  of  Symmachus  (498-514).  The  conjecture 
which  attributed  it  to  Leo  the  Great  is  therefore  un- 
founded. Each  of  the  modern  medallions  has  been 
executed  in  the  pope's  mosaic  manufactory,  and  each 


S.  PAUL'S  117 

has  taken  the  entire  work  of  one  man  for  a  whole 
year. 

The  effect  produced  by  the  basihca  as  it  now  stands  Modem 
must  certainly  be  finer  than  that  of  the  older  edifice,  interior. 
It  presents  the  appearance  of  a  forest  of  marble ;  four 
long  rows  of  granite  columns  spring  from  a  highly- 
polished  marble  floor,  twenty  in  each  row,  with  marble 
capitals  of  the  Corinthian  order. 

In  place  of  the  ancient  wooden  and  bronze  roof 
we  now  see  a  magnificent  gilded  coloured  and  carved 
one,  with  the  arms  of  Pius  IX.  in  the  centre;  but  no 
one,  we  imagine,  would  prefer  this  to  the  undecorated 
basilica  roof  such  as  may  still  be  seen  in  Ravenna. 

The  great  arch  remains  in  its  original  position,  sup-  Arch  of 
ported  upon  Galla  Placidia's  two  Ionic  columns,  each  Galla 
of  which  is  a  single  block,  conveyed  here  in  440,  in  "l^'^i^i^- 
sailing  vessels  from  the  mouth  of  the  Po,  to  which 
they    had    been    brought    on    rafts   from   the   quarry 
near    Lago    Maggiore.      An  exact    copy  of  the  xiii. 
century  mosaic,  which  was  destroyed  by  the  fire,  is 
placed   on    the   arch.     Behind   is   the   apse,  with   its 
beautiful  violet  marble  columns,  saved  from  the  fire. 

The  high  altar  is  beneath  a  Gothic  canopy  on  Altar, 
porphyry  pillars,  above  which  is  a  baldacchino  sup- 
ported by  four  columns  of  Oriental  alabaster,  presented 
by  Mahomet  Ali,  Viceroy  of  Egypt,  to  Gregory  XVI. 
Here,  at  some  depth,  he  the  remains  of  Paul.  The 
sarcophagus  was  at  one  time  accessible ;  the  spot  from 
which  the  descent  was  made,  says  Bosio,  lay  under 
the  transept,  to  the  left  of  the  tribune,  towards  the 
sacristy,  and  here  was  an  altar  in  honour  of  S.  Lucina. 
This  was  not  open  in  his  day,  but  could  be  entered 
from  the  subterranean  oratory  of  S.  Julian.  "  Near 
the  high  altar,  opposite  the  tribune,  in  the  centre  of 
the  transept,"  the  chapel  of  S.  Julian  stood,  but  was 
removed  by  Sixtus  V.,  as  it  cumbered  the  way. 

The  stone,  placed  by  Constantine,  bears  the  inscrip- 


tion 


PAULO 
APOSTOLO    MART. 


Ii8       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Confes- 
sion. 


First 
chapel. 
Second 
chapel. 


Third 
chapel. 
Fourth 
chapel. 


Transept 
chapels. 


Tribune. 


It  remained  buried  and  intact  during  the  fire  of  1823, 
and  still  exists.  In  it  holes  are  pierced,  through  which 
pilgrims  let  down  hrandea,  grains  of  incense,  etc. 

Before  the  altar  is  the  confession  of  S.  Timothy  the 
disciple  of  Paul,  where  his  remains  rest.  The  tabernacle 
is  said  to  have  been  the  work  of  Arnolfo  di  Cambio,  a 
pupil  of  Niccolo  Pisano  (1285). 

The  usual  entrance  is  by  the  left  transept. 

The  first  chapel  on  our  left  is  that  of  S.  Stephen, 
designed  by  Poletti ;  the  statue  of  the  martyr  is  by 
Rinaldi.  The  second  that  of  the  Sacrament,  is  dedi- 
cated to  S.  Bridget  of  Sweden.  Over  the  altar  is  the 
crucifix  which  is  said  to  have  spoken  to  her  ;  it  is 
attributed  to  Pietro  Cavallini.  A  very  ancient  wooden 
statue  of  S.  Paul,  much  injured  by  fire,  and  one  of 
S.  Bridget  by  Carlo  Maderno,  are  on  either  side  of 
the  door  inside. 

On  the  further  side  of  the  tribune  is  the  chapel  of 
the  choir  designed  by  S.  Maderno,  and  which  re- 
mains almost  as  it  was  before  the  fire.  The  next 
chapel  is  dedicated  to  S.  Benedict,  and  contains  a 
statue  of  the  saint  by  Tenerani.  The  small  columns 
of  gray  marble  here  were  brought  from  the  ruins  at 
Veil. 

Of  the  two  transept  chapels,  that  in  the  left  transept 
is  dedicated  to  S.  Paul,  with  his  conversion  by  Camuc- 
cini  above,  statues  of  S.  Gregory  by  Laboureur, 
and  of  S.  Romuald  by  Stocchi  ;  that  in  the  right 
transept  to  the  Madonna ;  over  it,  an  assumption  by 
Agricola,  with  statues  of  S.  Benedict  and  S.  Theresa. 
The  frescoes  above  are  by  Podesti.  Those  of  the 
transept  representing  scenes  in  the  life  of  S.  Paul  are 
by  Podesti,  Balbi,  and  others. 

The  tribune  apse  is  decorated  with  the  original 
XIII.  century  mosaics,  of  the  time  probably  of 
Honorius  III.,  completed  by  Nicholas  III.,  and  much 
retouched.  In  a  lunette  Paul  is  represented  borne  to 
heaven,  the  work  of  Camuccini.  A  modern  episcopal 
chair  stands  beneath. 


S.  PAUL'S  119 

In  the  body  of  the  church  are  some  fine  wooden 
confessionals,  with  bronze  reliefs  on  the  doors  represent- 
ing appropriate  subjects.  The  immense  statues  of  the 
two  Apostles  at  the  upper  end  of  the  nave  are  by 
Obice  and  Girometti.  The  total  length  of  the  church, 
exclusive  of  the  apse,  is  396  feet,  the  length  of  the 
nave  306  feet,  its  width  222  feet  ;  the  width  of  the 
transepts  250  feet,  A  gate  in  the  right  transept  leads 
into  the  monastery  corridors.  Here  are  preserved 
Rinaldi's  statue  of  Gregory  XVI.  and  some  mediaeval 
mosaics  which  adorned  the  old  basilica.  We  pass 
from  here  to  the  cloisters,  which  are  a  beautiful  example  Cloisters, 
of  early  xiii.  century  work.  The  arcades  of  the 
fine  square  are  formed  by  coupled  columns,  fluted, 
spiral,  twisted,  or  all  three  combined,  and  some  covered 
with  mosaic.  An  inscription  round  the  colonnade  tells 
us  that  it  was  begun  by  Abbot  Peter  (1193-1208),  and 
completed  by  Abbot  John  (i 208-1 241). 

From  this  convent,  which  has  lately  been  restored, 
came  Gregory  VII.  (Hildebrand),  Nicholas  III.,  and 
Pius  VII.,  the  simple  monk  Gregorio  Chiaramonti, 
chosen  as  Pope. 

The  great  fa9ade  of  the  basilica  has  been  decorated 
with  mosaics  in  imitation  of  the  original,  and  they  are 
considered  the  finest  modern  work  of  the  kind.  Above 
is  the  Redeemer  with  two  Apostles,  below  the  symbols 
of  the  Evangelists,  with  the  cities  of  Bethlehem  and 
Jerusalem;  and  below  again,  the  four  great  prophets. 
The  campanile  is  modern. 

An  inscription  is  still  preserved  in  this  church  refer- 
ring to  the  baths  which  were  attached  to  the  basilicas 
for  the  use  of  the  clergy,  and  were  in  constant  use 
until  the  fifth  century,  when  the  Roman  baths  were 
spoiled  through  the  destruction  of  the  aqueducts  by  the 
Goths. 

Feast  day. — June  29  and  30. 

The  Station  is  on  the  5th  Wednesday  in  Lent. 

s.  PAUL  is  not  one  of  the  12  apostles,  though  his 
place  is  so  important  that  he  is  accounted,  after  Peter, 


I20       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

the  greatest  apostle  :*  this  is  especially  so  in  Rome. 
Both  Peter  and  Paul  claim  to  have  been  chosen  to 
call  the  Gentiles,  Peter  in  Acts  xv.  7,  Paul  in  Gal. 
ii.  7,  8. 

It  would  appear  that  Paul  had  a  Christian  sister, 
and  a  nephew  her  son,  and  other  kinsmen  "  of  note 
among  apostles,"  who  professed  the  faith  before  his 
own  conversion  (Acts  xxiii.  16 ;  Rom.  xvi.  7). 

Fewer  legends  are  connected  with  S.  Paul's  life,  in 
proportion  as  we  possess  more  real  knowledge  of  him 
than  of  other  apostolic  figures.  The  difficulties  and 
defects  of  his  own  temperament,  the  inconsistencies, 
the  puerilities  of  argument  to  which  he  descends,  yet 
the  unique  profundity  of  other  arguments,  his  curious 
pride,  his  moving  humihty,  together  with  the  laborious 
apostolic  fife,  make  him  one  of  the  most  remarkable 
figures  in  Christian  story.  To  him  we  owe  the  foun- 
dation of  a  wider  Christology  than  that  dreamt  of  by 
the  other  Apostles,  if  we  except  John  :  to  him  we  owe 
the  noble  way  of  meeting  the  Gentiles,  spite  of  the 
Pharisaic  spirit  strong  within  him,  as  in  the  midst  of 
the  Areopagus,  where  he  boldly  makes  use  of  a  Greek 
conception,  saying,  "We  are  the  offspring  of  God";  or, 
writing  to  the  Romans  asks,  "  Is  God  the  God  of  Jews 
only  ?"  or  when  he  reaches  the  great  conception : 
"  There  is  no  bond  or  free,  there  is  no  Jew  or  Gentile." 
On  the  spiritual  side  of  religion  he  has  rendered  no 
greater  service  than  in  the  much  misquoted  passages 
on  the  dignity  of  faith. 

It  is  almost  incredible  that  such  mistaken  literary 
appreciation  has  been  possible  as  has  been  shown  in 
the  theory  that  Paul  preached  Faith  versus  Works.  Such 
critics  make  faith  =  dogmatic  belief,  and  works-of-the- 
law  =  '  works.'     Neither  is  true.     And  nothing  can  be 

*  A  recent  writer,  discussing  Paul's  claims  to  Apostleship — 
since  it  is  clear  he  did  not  fulfil  the  conditions  laid  down  by  Peter 
in  Acts  i.  21,  22,  when  Matthias  was  elected  —  declares  that 
S.  Paul  in  effect  said  :  I  am  an  Apostle,  because  I  have  "seen  the 
Lord,"  because  I  have  suffered  much  for  the  faith,  because  of  the 
singular  success  of  my  preaching. 


S.  PAUL'S  121 

stronger  than  that  Paul  with  the  exalted  significance 
he  gave  to  faith,  preferred  to  it  charity. 

Although  S.  Paul's  presence  in  Rome  is  not  doubted,  S.  Paul 
and  Peter's  has  been,  there  are  as  a  matter  of  fact  i"  Rome, 
more  traces  of  Peter  here  than  of  Paul.  Paul  having 
landed  at  PuteoH  (Pozzuoli),  arrived  in  Rome  in 
March,  a.d.  6i.  He  was  then  held  in  custodia  militaris, 
in  a  house  at  his  own  charges,  but  under  the  super- 
vision of  a  guard,  the  Prcefectus  castrorum.  He  would 
probably  therefore  have  been  lodged  in  this  official's 
region  of  the  city,  probably  the  Castro  Pretoria,  estab- 
lished since  the  time  of  Tiberius  for  the  Pretorian 
Guard  near  the  Porta  Collina,  now  the  Macao.'^'  Two 
other  sites  are  pointed  out :  one  in  the  Camp  of  Mars 
(Campo  Marzio),  where  the  Church  of  S.  Maria  in  Via 
Lata  now^  is ;  but  this  is  a  tradition  of  the  middle 
ages  (xi.  century)  and  is  perhaps  due  to  a  con- 
fusion with  the  subterranean  oratory  of  S.  Martial  of 
Limoges,  who  was  said  to  have  been  Paul's  disciple. 
The  other  site  is  S.  Paolo  alia  Regola  in  the  Ghetto, 
but  there  is  no  ancient  testimony  to  this  site.  It  is 
likely  that  S.  Paul  bestowed  his  labours  on  that  region 
of  Rome  which  he  perforce  inhabited ;  and  hence  the 
possibility  of  that  conversion  of  two  of  the  Pretorian 
Guard,  Nereus  and  Achilleus,  which  tradition  ascribes 
to  him  or  to  Peter.  His  two  years'  captivity  ended 
in  his  acquittal,  and  he  may  have  frequented  the  Palace 
of  the  Caesars  during  that  time,  in  his  attempts  to 
obtain  justice,  and  in  this  way  may  have  converted 
members  of  the  Imperial  Household,!  such  being  in 
fact  named  in  the  Epistle  to  the  PhiHppians,  written 
from  Rome  a.d.  59,  60  :  "  Those  of  Caesar's  household 
salute  you." 

*  Vide  Catacomb  of  S.  Agnese,  Chap.  X.  Cf.  also  Phil.  i.  13  : 
"  So  that  my  bonds  became  manifest  in  Christ  in  the  whole 
Praetorium "  (i.e.,  place  of  the  Praetorian  Guard).  In  some 
ancient  Greek  codices  of  the  Acts  this  name  is,  in  fact,  inserted  in 
chapter  xxviii.,  verse  30. 

t  See  Catacomb  of  Domitilla,  Chap.  X. 


122       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Other  sites  connected  with  the  Apostle  are  the 
"market  of  Appius,"  and  the  "  Three  Taverns "  on  the 
Appian  Way.* 

After  these  two  years,  nothing  is  known  of  Paul's 
doings  until  his  death.  For  his  sepulchre  refer  to 
Chapter  X,  the  Cemetery  of  Lucina  on  the  Ostia.  On 
this  road,  going  towards  S.  Paolo  Fuori,  a  small 
marble  relief  attached  to  a  building  on  the  left  of  the 
road,  marks  the  spot  where  Peter  and  Paul  embraced 
and  parted  on  the  way  to  martyrdom,  June  2g,  a.d.  67. 
The  story  is  legendary. 

"  Pierre  et  Paul  reconcihes,  voila  le  chef  d'oeuvre 
qui  fondait  la  suprematie  ecclesiastique  de  Rome  dans 
I'avenir  " — writes  Renan.  To  have  combined  the  genius 
of  those  two  men,  of  the  greatest  of  the  apostles  whom 
Christ  had  chosen,  and  the  great  apostle  who  had 
never  seen  Him,  as  the  foundation  of  the  universal 
church,  is  indeed  the  work  and  glory  of  Rome. 

For  the  traditional  types  of  SS.  Peter  and  Paul,  refer 

to  the  cemetery  of  Domitilla. 

Site  of  TBE  FONTANE. — Two   miles    beyond    the   basilica   of 

S.  Paul's    S.  Paolo  is  the  site  of  S.  Paul's  martyrdom,  5.  Pavlo 

™^*y"      alle    Tre    Fontane,    or    ad   Aquas    Salvias    its    ancient 

name. 

To-day  the  group  of  buildings  which  forms  the 
sanctuary  lies  concealed  among  eucalyptus  trees,  and 
forms  a  Trappist  monastery.  The  site  which  they  have 
only  recently  possessed,  has  been  planted  and  reclaimed 
by  this  order ;  to  them  is  due  the  vine,  the  olive,  and 
the  eucalyptus,  and  the  splendid  agricultural  feats 
which  cover  this  hitherto  malarial  locality.  They  are 
given  prison  labour  by  the  Government,  and  bands  of 
prisoners,  in  red  caps,  with  a  guard  over  them,  may 
be  seen  working  in  the  fields  round.  They  all  reside 
on  the  spot,  and  the  monks  not  only  employ  their 
labour  but  reclaim  their  lives. 

*  Acts  xxviii.  14.  These  sites  were  43  and  23  Roman  miles 
respectively  from  the  city  gate 


dom. 


S.  PAUL'S  123 

Here  according   to   tradition   Paul   was   beheaded, 
and  his  head  bounding  three  times  on  the  earth,  three 
fountains  sprang  up  at  the  spots,  each  at  a  different 
level!     The  Church  upon  the  site  was  built  in  1599  by  s.  Paolo 
Cardinal  Aldobrandini,  G.  della  Porta  being  the  archi-  alle  Tre 
tect*.     Panvinius  mentions  the   three  little  chapels,  one  Fontane. 
more  beautiful  than  the  other,  with  three  fountains, 
"  whence  the  entire  church  is  called   '  of  the  Three 
Fountains.'  " 

M.  de  Maumigny  restored  it  in  1865,  when  the  place 
was  given  to  his  compatriots  the  French  Trappists. 
The  ancient  cosmatesque  pavement  was  then  found, 
at  different  levels,  and  with  marbled  descents  obviously 
leading  to  the  three  springs.  Two  old  columns  w^ere 
found  in  situ,  forming  part  of  an  ancient  edifice  dis- 
posed as  a  running  Portico.  Marble  decorations  of 
the  VI.  century  were  also  discovered ;  and  a  fragment 
recording  the  name  of  Paul  and  that  of  Pope  Sergius 
(687).  An  inscription  of  Gregory  the  Great's  at  the 
monastery  of  S.  Paolo  also  records  "  Aqua  Salvias  " 
as  the  site  of  Paul's  decapitation.  The  Trappists 
when  digging  for  water  in  1878  came  on  some  ancient 
money  of  the  time  of  Nero,  and  a  quantity  of  pine  cones, 
nearly  fossilized  by  time,  lying  at  a  great  depth.  The 
anonymous  Greek  Acts,  edited  by  Tischendorf,  though 
full  of  legendary  matter  and  apocryphal,  narrate  that 
Paul  suffered  tiear  a  pine-tree.  This  discovery  there- 
fore is  very  curious. 

In  one  corner  of  the  church  is  a  piece  of  a  column 
on  which  it  is  said  Paul  was  beheaded.  It  perhaps 
belonged  to  the  ancient  building.  On  the  pavement  is 
a  mosaic  representing  the  4  seasons,  found  at  Ostia. 
The  3  altars  are  decorated  with  rare  black  porphyry 
columns. 

88.  VINCENZO  ED  ANASTA8I0. — Honorius  I.  erected  a 
church  in  honour  of  these  martyrs,  in  625-26,  which 
was  restored  by  Adrian  I.  that  indefatigable  restorer 
of  Christian  sites,  and  rebuilt  in  796  by  Led  III. 
Honorius  also  erected  a  monastery,  restored  in  1128. 


Interior. 


124       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

The  church,  under  the  title  of  S.  Anastasius,  is  among 
those  visited  by  Siric  Archbishop  of  Canterbury  in 
990*.  When  the  monastery  and  probably  also  the 
church  were  restored  by  Innocent  II.,  he  placed  S. 
AD.  1 128.  Bernard  and  his  monks  here,  assigning  farms  and  vine- 
yards for  their  maintenance.  The  first  Abbot  was 
Pietro    Bernardo    Pisano,   afterwards   Eugenius    III. 

(1145)- 

There  is  something  very  attractive  in  this  inornate 
church,  with  a  wide  nave  and  2  aisles,  divided  by  8 
arches  and  pilasters.  An  oblong  window  frame  over 
each  arch  is  pierced  with  3  rows  of  circular  windows 
now  filled  with  glass  but  anciently  with  alabaster. 
Frescoes  of  the  Apostles,  painted  by  Raphael's  pupils 
from  his  designs,  form  the  only  ornamentation,  but 
these  have  been  bedaubed  by  later  hands.  There 
are  no  side  chapels;  the  flat  roof  is  of  open  woodwork. 
At  the  east  end  are  the  high  altar  and  2  chapels. 

The  door  is  always  open,  and  is  approached  by  a 
portico  supported  by  granite  columns,  the  exterior  of 
the  church  resembling  all  old  basilicas.  Four  windows, 
similar  to  those  described  over  the  aisle  arches,  decorate 
the  fagade.  A  notice  begs  those  who  enter  the  church 
to  keep  silence  while  there. 

The  relics  and  ikon  of  the  Persian  martyr  Anas- 
tasius, who  suffered  in  626  when  this  church  was 
building,  were  sent  here  by  the  Emperor  Heraclius. 
Charlemagne  bestowed  lands  in  Siena  on  the  church. 
In  the  adjeining  cloister  some  ruinous  frescoes,  prob- 
ably of  the  XIV.  century,  relating  to  a  funeral  and 
mass  in  this  edifice,  still  exist. 

In  altering  the  level  on  account  of  the  great  humidity 
of  the  site,  some  Armenian  inscriptions  were  found, 
with  the  name  of  Gregory  the  Illuminator,  of  Paul,  and 
of  S.  Constantine  the  emperor,  in  the  East  regarded 
as  a  saint.  In  the  xii.  century  then  a  monastery  of 
Armenians  existed  here,  as  also  at  the  great  Basilica 
near  by. 

•  MS.  at  the  British  Museum. 


Exterior. 


Another 
S.  Anas- 
tasius. 


Armenian 
remains. 


S.  PAUL'S  125 

S.  MARIA  SCALA  C(ELI. — The  third  church  on  this 
beautiful  site  is  S.  Maria  Scala  Coeh,  anciently  known 
as  Mansio  S.  Dei  Genitricis  Maria.  The  name  "  Ladder 
of  heaven  "  is  derived  from  a  vision  of  S.  Bernard's, 
who  when  celebrating  mass  here  saw  a  ladder  reaching 
to  heaven,  by  w^hich  the  souls  freed  from  torment  as- 
cended. Cardinal  A.  Farnese  commenced  the  work  of 
rebuilding  it,  which  was  completed  by  Cardinal  Aldo- 
brandini,  the  architect  being  Vignola,  and  later  Delia 
Porta.  In  the  Chapel  of  S.  Bernard  to  the  left,  are 
Francesco  Zucca's  mosaics  (on  the  vault),  representing 
the  Madonna  and  Child,  with  SS.  Zeno,  Vincent, 
Anastasius,  and  Bernard,  and  below  Clement  VIII., 
and  Cardinal  Farnese,  then  Abbe  Commendataire  of 
Tre  Fontane.  It  is  held  to  be  the  only  good  modern 
mosaic  of  the  kind. 

From  here  we  descend  to  a  chapel  of  S.  Zeno  on 
the  site,  it  is  said,  where  he  and  many  other  martyrs 
were  interred.  According  to  an  ecclesiastical  tradition, 
the  12,000  Christians  employed  in  building  the  Baths 
of  Diocletian  were  buried  at  this  spot. 

An  early  Christian  cemetery  in  fact  existed  here  : 
and  a  fragment  of  a  11 1.  century  Christian  inscription, 
and  a  glass  phial  affixed  to  one  of  the  tombs,  have 
been  found.  The  cell  where  it  is  said  Paul  was  con- 
fined previous  to  his  execution,  and  the  altar  at  which 
Bernard  had  his  vision,  are  also  shown  in  this  subter- 


Feast  days. — June  30  (S.  Paul)  and  January  22  (S.  Vincent  the 
deacon,  and  S.  Anastasius  the  Persian  monk). 

For  the  lives  of  these  two  titular  saints,  see  p.  350. 


CHAPTER  VII. 

S.  Maria  Maggiore — S.  Sebastiano — S.  Croce  in  Gerusalevime — 
5.  Lorenzo — An  account  of  the  saint — S.  Agnese — S.  Costanza. 

S.  Maria  Maggiore. — The  origin  of  this  great  church 
is  attributed  to  the  dream  of  two  Roman  patricians, 
a  certain  Johannes  and  his  wife  who  being  childless 
vowed  their  wealth  to  the  Blessed  Virgin,  and  were 
then  separately  admonished  in  a  dream  to  build  a  church 
where  snow  should  be  found  on  August  5.  This  was 
speedily  told  to  Pope  Liberius  (352-366),  who  declared 
he  had  been  favoured  with  a  similar  vision.  Now  in 
this  same  night,  snow  had  fallen  on  the  summit  of  the 
Esquiline  Hill ;  here  Liberius  and  all  the  clergy  and 
people  found  it ;  and  here  John  Patritius  and  his  wife 
built  the  great  basilica  with  their  substance.  It  has 
been  called  the  Liherian  basilica,  and  may  be  considered 
as  a  monument  to  the  creed  of  Nicaea,  and  to  the 
return  of  Liberius,  who  from  his  having  temporized 
with  the  Arians  had  been  for  some  time  regarded  as  a 
heretic.'''  The  church  is  also  known  as  S.  Maria  ad 
Nives,  of  the  Snow.  In  432  it  was  rebuilt  by  Sixtus  III., 
who  placed  the  magnificent  mosaics  there ;  and  it  was 
then  that  the  basilica  was  dedicated  to  the  Blessed 
Virgin.  The  Liber  PontificaHs  says  he  built  the 
basilica  of  his  name,  near  the  market  of  Livia  ;  it  is  also 
referred  to  as  Basilicam  S.  Maria  qua  ah  antiquis  Liherii 

*  In  order  to  return  to  Rome.  Liberius,  who  had  courageously 
borne  persecution  and  exile  for  his  faith,  signed  a  creed  drawn  up 
at  Sirmium  by  the  Arian  bishops,  a.d.  258. 


MAJOR  BASILICAS  127 

cognominabatur,  juxta  macellmn  Livia  (The  basilica  of 
S.  Mary,  which  anciently  was  called  the  Liberian,  by 
the  market  of  Livia). 

From  the  vi.  century  the  name  ad  Prasepe  or  post 
Pfasepe  was  given  to  the  church,  on  account  of  the 
relic  of  the  culla,  or  boards  of  the  manger  at  Bethlehem, 
which  is  preserved  there.  The  appellation  ad  Nives 
does  not  appear  till  after  the  x.  century.  On  the  a.d.  366. 
death  of  Liberius,  the  church  was  taken  possession  of 
by  Ursicinius,  the  antipope  to  Damasus,  after  the  dual 
election.  A  fight  between  the  partisans  of  the  two 
popes  ensued,  and  De  Rossi  has  discovered  in  the 
Vatican  archives  a  rescript  of  Valentinian's,  ordering 
the  Prefect  of  Rome  to  restore  the  basilica  to  the  right- 
ful bishop.*  The  church  is  here  called  basilica  Sicinini, 
because  it  was  held  by  the  schismatics  who  followed 
Ursicinius. 

This  is  the  oldest  church  solemnly  dedicated  to  the 
Madonna  in  Rome,  and  is  also  the  largest.  For  1,450 
years  it  has  been  known  as  Basilica  S.  Marige,  and 
Basilica  Major,  or  Greater. f 

As  it  stands,  this  beautiful  church  has  more  of  the 
characteristics  of  a  great  basilica  than  any  other  within 
the  city.  The  original  plan  of  the  enlarged  Sixtian 
edifice  has  been  preserved,  and  consists  of  a  great  nave  a.d.  432. 
and  two  aisles,  divided  by  thirty -six  Greek  white 
marble  columns]:  with  Ionic  capitals.  On  the  entabla- 
ture rest  thirty-six  fluted  Corinthian  pilasters.  This 
fine  entablature  is  broken  by  the  two  modern  arches 
and  gray  granite  columns,  placed  as  entrances  to  the 
transept  chapels  by  Paul  V.  and  Benedict  XIV.  The 
nave  is  280  feet  long,  and  nearly  60  feet  wide.  The 
roof  is  flat.  The  presbytery  is  apsidal,  with  the  altar 
in  the  usual  basilica  position,  facing  the  nave.  The 
confession  contains  the  relics  of  the  apostle  Matthias. 

*  Codex  Vat.,  4961. 

t  From  the  xiv.  century  it  has  been  known  as  S.  Maria 
Maggiore,  S.  Mary  Major. 

\  From  the  temple,  it  is  said,  of  Juno  Lucina. 


128       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

The  church  is  usually  entered  by  one  of  the  doors, 

that  to  the  right,  at  the  apse-end.     It  is  approached  by 

a    magnificent  flight  of   steps,  this  fa9ade  being  the 

work  of  Carlo  Rainaldi.     The  two  doors  at  this  end 

were  opened  in  the  xiv.  century  by  Cardinal  d'Estoute- 

ville. 

S.  Maria       The  Sixtian  church  was  not  much  modified  until 

Maggiore   the  XII.  century  when   Eugenius  III.  completely  re- 

^^'M\         newed  the  interior,  and  erected  a  fa9ade  and  portico. 

ages,  and   The  Roman  Senate  erected  an  altar  to  S.  Gregory  in 

to  1741.      the  nave,  while  Giacomo  and  Vinia  Capocci  erected  a 

reliquary  chapel  in  1256.     Next  to  this  was  an  altar 

with  the  image  of  the  Madonna,  attributed  to  S.  Luke, 

erected  by  the  Senate  and  Roman  people.     To  these 

was  added  the  ancient  chapel  of  the  presepio,  and  from 

1288-1294.  the  time  of  Nicholas  IV.  the  chapels  began  to  multiply 

and  change  the  aspect  of  the  primitive  basilica.     Some 

24  stood  on  either  side,  in  the  corners,  even  in  the 

middle  of  the  aisles. 

In  1575  Gregory  XIII.  entirely  repaired  the  build- 
ing. In  1586,  Sixtus  V.  erected  the  famous  chapel  to 
the  right  of  the  tribune  ;  and  the  chapel  of  S.  Jerome, 
where  the  saint's  body  lay,  was  destroyed.  In  1611 
Paul  V.  erected  the  Borghese  Chapel,  on  the  opposite 
side.  Finally  Benedict  XIV.,  in  1741,  completely 
renewed  the  interior,  and  made  the  principal  fa9ade. 

Entering  from  the  Piazza  dell'  Esquilino,  in  which 

the  old  Via  delle  4  Fontane  terminates,  we  find  ourselves 

The  by  the  apsidal  tribune  of  the  church.     On  the  great 

tribune        arch,  Sixtus  III.,  who  reconstructed  and  embellished 

and  arch,    ^^lis  basilica  as  a  memorial  of  the  Council  of  Ephesus,* 

has  placed  in  mosaic  a  cross,  with  Peter  and  Paul  on 

either  hand,  and  above,  the  emblems  of  the  Evangelists. 

The  Annunciation,  the  Presentation  in  the  Temple,  the 

adoration  of  the  Magi,  the  slaughter  of  the  Innocents, 

and  the  Dispute  with  the  Doctors  in  the  Temple,  are 

*  The  Council  of  Ephesus  condemned  Nestorius,  who  distin- 
guished two  persons  in  Christ,  and  declared  Mary  to  be  Theotokos, 
or  Mother  of  God. 


MAJOR  BASILICAS  129 

the  appropriate  Gospel  scenes  represented  :  and  Sixtus 
has  dedicated  his  work  in  an  inscription  To  the  people 
of  God  :  XYSTus  episcopus  sanxt^  plebi  DEI.  On 
the  flanks  of  the  arch  are  represented  the  two  mystical 
cities,  decorated  with  precious  stones,  the  faithful  at 
their  doors,  represented  as  sheep." 

The  mosaics  of  the  apse  are  much  later ;  they  were  Mosaics, 
placed  in  the  time  of  Nicholas  IV.,  at  the  end  of  the 
thirteenth  century,  and  are  the  work  of  Giacomo  1295. 
Turrita,  the  great  mosaicist,  who  did  them  for  Jacopo 
Cardinal  Colonna.  The  Redeemer  and  the  Blessed 
Virgin,  seated  on  a  throne,  are  surrounded  by  angels  ; 
He  places  a  crown  on  her  head,  and  on  a  book  in  His 
hand  are  inscribed  the  words  :  "  Come  My  elect  and 
I  will  place  thee  in  My  throne."  The  attitude  repre- 
sents the  verse  in  the  Canticle  of  Canticles  :  "  His  left 
hand  under  my  head,  and  His  right  hand  shall  em- 
brace me";  which  are  referred  to  the  Coronation  of  the 
Virgin.  Peter,  Paul,  the  two  Johns,  S.  Francis,  and 
S.  Antony  of  Padua,  with  Nicholas  IV.  and  Cardinal 
Colonna  introduced  as  tiny  figures,  stand  on  either 
hand.  Below  is  the  sea,  and  in  the  centre  the  Mount, 
from  which  flow  the  Four  Rivers,  the  Celestial  Jerusa- 
lem in  their  midst.  An  inscription  beneath  tells  us 
that  Nicholas  IV.  re-made  this  temple  of  the  Virgin, 
which  was  ruinous,  "  making  the  old  things  new."  At 
the  same  time  Cardinal  Colonna  adorned  the  exterior 
of  the  apse  with  mosaics,  which  have  perished.  The 
Blessed  Virgin  was  depicted  between  Agnes,  Cecilia, 
Lucia,  and  Caterina ;  and  the  Epiphany  was  also 
represented.  Between  the  windows,  underneath,  Gaddo 
Gaddi  has  depicted  the  usual  scenes  from  the  life  of 
the  Virgin  :  the  Purification,  Annunciation,  Nativity, 
Adoration  of  the  Magi,  Presentation  in  the  Temple,  and 
her  Death. 

The  High  Altar  rests  on  a  sarcophagus  of  red  por-  High 
phyry  which  stood  anciently  in  the  narthex,  and  was  Altar. 

*  They  have  often  been  restored,  but  are  still  formed  for  the 
most  part  on  the  original  v,  century  moulds. 

9 


I30       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

believed  to  contain  the  remains  of  the  founders." 
The  baldacchino  was  designed  by  Fuga  {temp.  Bene- 
dict XIV.),  and  rests  on  4  Corinthian  red  porphyry 
columns  ;  the  angels  by  P.  Bracci.  The  confession, 
with  its  semicircular  atrium,  is  approached  by  2 
flights  of  steps,  and  was  decorated  with  columns  of 
Egyptian  alabaster  and  coloured  marbles  by  Pius  IX., 
the  designs  being  those  of  Virginio  Vespignani.  The 
Borghese  Borghese  or  Paolina  Chapel  is  to  the  left  as  we  face  the 
Chapel,  tribune.  It  is  one  of  the  richest  in  Rome.  It  was 
erected  in  161 1  by  Paul  V.,  and  is  the  property  of  the 
Borghese  family.  Flaminio  Ponzio  was  the  architect. 
Over  the  altar  is  the  image  of  the  Madonna  which 
was  believed  in  the  middle  ages  to  have  been  painted 
by  S.  Luke,  and  which  was  removed  here  from  the 
chapel  in  the  nave.  The  copy  of  a  Papal  Bull  at- 
tached to  the  wall  affirms  the  picture  to  have  been 
painted  by  the  Evangelist :  P.  Garrucci  asserts  that 
it  is  certainly  not  older  than  the  v.  century ;  and 
Baronius  hazards  a  conjecture  that  this  was  the  image 
carried  in  the  great  procession  by  Gregory  the  Great, 
A.D.  590.  The  altar-piece  is  of  fluted  jasper.  Above 
the  picture  is  Stefano  Maderno's  bronze  bas-relief,  repre- 
senting Liberius  tracing  the  church  in  the  miraculous 
snow.  The  frescoes  on  the  pendants  below  the  cupola 
and  round  the  altar  are  by  Cav.  d'  Arpino  ;  those  on 
the  arches  and  between  the  windows  by  Guido,  the 
Madonna  by  Lanfranco  ;  the  Madonna  standing  on 
a  crescent  moon  in  the  cupola  is  by  Cigoli.  The 
monument  of  Paul  V.  is  by  pupils  of  Bernini ;  that  of 
Clement  VIII.  (Aldobrandini)  by  Mochi,  Pietro  Ber- 
nini, and  others ;  but  the  statues  of  both  popes  are 
the  work  of  Silla  da  Viggiu.  The  statues  of  Aaron, 
Athanasius,  and  Bernard  are  by  Niccolo  Cordieri.   The 

*  The  inscription,  obviously  a  later  one,  is  now  on  the  walls  of 

the  baptistery  : 

loHANNis  Patritii  huics  Basilic^e  Fundatoris  sepulchrum. 
In  1746  the  sarcophagus  was  opened,  and  remains  of  a  man  and 
woman  found,  with  balsams  and  pieces  of  stuff. 


MAJOR  BASILICAS  131 

chapels  as  we  enter,  dedicated  to  Charles  Borromeo 
and  Francesca  Romana,  are  painted  by  Croce  and 
Baglioni.  In  the  crypt  beneath  are  the  tombs  of  the 
Borghese  family ;  and  here  Gwendoline  Talbot  wife  of 
Prince  Borghese,  lies. 

Crossing  the  nave,  we  enter  the  Chapel  of  the  Cappella 
Blessed  Sacrament,  built  by  Sixtus  V.  in  1586,  Fon-  Sistina. 
tana  being  the  architect.  It  is  in  the  form  of  a  Greek 
cross.  It  is  richly  decorated  with  marbles  and  monu- 
ments. In  the  centre  is  a  large  tabernacle  in  bronze, 
supported  by  4  angels  :  this  way  of  placing  the  holy 
sacrament  high  above  the  altar  is  the  ancient  mode 
in  which  it  was  reserved.  Below  is  the  Chapel  of 
the  Culla,  or  cradle  ;  the  chapel  was  removed  here  as 
it  stood,  by  means  of  the  imperfect  machinery  of  the 
time,  from  the  original  site  70  palms  distant.  This 
chapel  was  commenced  by  Innocent  III.,  and  com- 
pleted by  Honorius  III.,  the  artist  being  Arnolfo  di 
Lapo.  Here  are  preserved  the  three  boards  from  the  The  Culla. 
manger  at  Bethlehem,  which  constitute  the  relic  called 
the  culla.  They  were  brought  from  Palestine,  accord- 
ing to  some,  by  Gregory  III.  (731),  and  according  to 
others  by  Theodorus  (642),  both  of  Palestinian  or 
Syrian  origin.  The  first  Mass  of  Christmas  night 
used  to  be  sung  at  this  little  altar  by  the  Pope ;  after 
which  the  culla  was,  and  still  is,  borne  in  procession 
from  a  room  off  the  baptistery,  where  it  was  exposed  to 
view,  to  the  altar  of  the  Presepio. 

The  papal  monuments  here  are  of  Sixtus  V.  and 
Pius  V. ;  the  first  by  Valsoldo,  the  second  by  Sarzana. 
The  historic  bas-reliefs  are  chiefly  the  work  of  Flemish 
artists,  and  refer  to  these  two  pontificates.  Those  on 
the  papal  tombs  are  by  Cordieri.  The  frescoes  are  by 
Pozzo,  Cesare  Nebbia,  and  others.  The  statue  of 
Dominic  is  by  G.-B.  della  Porta ;  that  of  S.  Gaetano 
da  Tiene,  by  Bernini.  The  little  chapel  as  we  enter, 
to  the  right,  dedicated  to  S.  Lucia,  has  as  its  altar  a 
fourth-century  Christian  sarcophagus,  with  the  usual 
subjects  in  relief,  and  a  medallion  of  Petronius  Probus, 

9—2 


132       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

who  became  a  Christian  through  his  distinguished  wife 
Faltonia  Proba,  and  was  Consul  a.d.  341.  The  whole 
chapel  was  repaired  by  Pius  IX.,  under  Vespignani's 
direction.  This  chapel  was  begun  when  Sixtus  V. 
was  Cardinal  Peretti,  and  it  is  said  that  Gregory  XIII. 
stopped  his  stipend  on  the  ground  that  the  Cardinal 
must  be  a  rich  man  to  undertake  so  great  a  work.  It 
was  then  that  Fontana  generously  placed  all  his 
savings  at  Peretti's  disposal,  and  the  work  proceeded. 
The  events  recorded  in  the  bas-reliefs  on  the  tomb  of 
Pius  v.,  by  Cordieri,  are  the  Battle  of  Lepanto,  and 
the  Pope  sending  aid  to  Charles  IX.  of  France  in  his 
conflict  with  the  Huguenots. 
Baptis-  On  the  same  side  as  the  Cappella  Sistina,  at  the  end 

tery.  of  that  aisle,  is  the  Baptistery,  the  work  of  Ponzio, 

converted  into  a  baptistery  by  Leo  XII.  The  font  is  a 
basin  of  red  porphyry,  the  bronze  adornments  by 
Valadier.  The  Assumption  over  the  altar,  is  by  Ber- 
nini. From  here  opens  the  sacristy,  with  a  picture  of 
the  Madonna  and  Child  by  Gaetani,  and  frescoes  by 
Passignani.  On  the  other  side  is  a  passage  containing 
a  bronze  statue  of  Paul  V. 
Gothic  Outside  the  baptistery  is  the  beautiful  Gothic  tomb 

tombs.  of  Cardinal  Gonsalvo,  Bishop  of  Albano,  the  work  of 
G.  Cosma,  with  the  date  1299;  and  a  mosaic  of  the 
Madonna  with  SS.  Matthias  and  Jerome,  above.  Here 
also  are  the  monuments  to  Nicholas  IV.,  raised  by 
Sixtus  v.,  the  work  of  Sarzana ;  a  monument  to 
Clement  IX.,  with  sculptures  by  Guidi,  Ercole  Fer- 
rata,  and  FancelH,  erected  by  Clement  X.;  and  the 
tomb-stone  of  Platina  the  author  of  the  "  Lives  of  the 
Pontiffs,"  at  the  other  end  of  the  right  aisle.  By  the 
principal  entrance,  at  the  extremity  of  the  left  aisle, 
are  the  tombs  of  Cardinal  and  of  Archbishop  De  Levis, 
of  Aries,  of  the  early  xvi.  century. 

In  the  left  aisle  is  the  Cappella  Cesi,  belonging  to 
the  Massimi,  with  two  monuments  to  Cardinals  Cesi 
by  Delia  Porta  ;  and  the  Sforza  Chapel,  designed  by 
Michelangelo,  which  is  the  Winter  Choir  of  the  Cations 


MAJOR  BASILICAS  133 

where  the  Divine  office  is  said  ;  the  Assumption  over 
the  altar  is  by  Girolamo  da  Sermoneta, 

The  pavement  of  this  uniquely  beautiful  basilica  is 
of  the  Cosmatesque  work  called  Alexandrine,  of  the 
XIII.  century.  The  roof  was  designed  by  Sangallo,  Roof, 
and  the  5  rows  of  panelling  into  which  it  is  divided 
are  said  to  have  been  decorated  with  the  first  gold 
brought  from  South  America,  presented  by  Ferdinand 
and  Isabella  to  Alexander  VI.  This  work  had  been 
begun  by  Callistus  III.,  and  was  completed  by  Alex- 
ander when  Cardinal  of  this  church. 

Above  the  entablature  between  the  pilasters,  on  both  Mosaics 
sides  of  the  nave,  are  the  other  famous  mosaics,  placed  of  the 
by  Sixtus  III.  in  432,  representing  scenes  from  the  ^^^^• 
Old  Testament — the  lives  of  Moses,  Joshua,  Abraham, 
Isaac,  and  Jacob.    These,  and  the  mosaics  of  the  great 
arch  are  mentioned  by  Adrian  I.  in  a  letter  to  Charle- 
magne  (a.d.   771)   as  having  been  placed  by  Sixtus. 
The  aspect  of  the  church,  which  is   S.E.   (principal 
entrance)  and  N.W.  (apse),  makes  it  almost  impossible 
to  see  these  well ;  the  good  light  is  in  the  morning. 

Going  out  by  the  great  entrance  on  to  the  Piazza  Fa9ade. 
S.  Maria  Maggiore,  we  see  the  fa9ade  erected  in 
1 74 1  from  Fuga's  designs.  The  new  fa9ade,  with  its 
balcony  for  the  Benediction,  which  was  always  given 
from  here  on  the  Feast  of  the  Assumption,  has  de- 
stroyed much  of  the  xii.  century  mosaic  that  adorned 
the  fa9ade  of  Eugenius  III.  This  mosaic  is  in  2 
tiers :  above,  in  an  oval,  is  Christ  enthroned  be- 
tween four  angels  ;  on  the  book  in  His  hand  are  the 
words,  "Ego  sum  lux  mundi  qui."  The  artist  has 
placed  his  name  under  the  footstool,  Philipp  Rtisuti. 
Below  this  oval  stand  8  saints  :  the  Madonna  inscribed 
MHP  GT,  who  held  in  her  hand  an  open  book ;  next 
is  Paul,  and  on  his  volume  is  written,  Michi  vive.  XC 
("  To  me  to  live  is  Christ  ") ;  then  James  as  a  pil- 
grim ;  then  Jerome  ;  on  the  other  side,  the  Baptist ; 
Peter,  with  his  confession,  "  Thou  art  the  Christ "; 
Andrew,  who  had  written,  "  I  have  found  the  Messiah, 


134       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

which  is,  being  interpreted,  the  Christ  ";  then  Matthias, 
with  his  sentence  of  the  Creed,  "  I  beheve  in  the  resur- 
rection and  eternal  hfe."  The  figures  of  James  and 
Peter,  Cardinals  Colonna,  who  made  the  mosaic,  have 
perished.  In  the  lower  tier  the  Madonna  appears  to 
Liberius  in  a  dream  ;  it  is  mutilated,  but  the  inscrip- 
tion" in  very  abbreviated  Latin  says  "  Virgo  Maria 
apparuit  papae  Liberio  dicens  fac  mihi  ecclesiam 
in  montem  Superagio  sicut  nix  indicat."t  The  next 
scene  is  the  apparition  to  the  two  founders  ;  in  the 
next,  Liberius  seated  on  a  faldstool  hears  John's 
account  of  the  vision  ;  in  the  last  scene,  Christ  and  the 
Madonna  cause  the  snow  to  fall,  and  Liberius,  John, 
and  the  people  mark  out  a  church  in  it. 
Cam-  The  campanile,  one  of  the  finest  though  not  one  of  the 

panile.        most  ancient  in  Rome,  is  of  the  time  of  Eugenius  IIL 
(1145),  rebuilt  by  Gregory  XL  on  his  return  to  Rome 
from  Avignon,  and  restored  by  Paul  V.     The  spire  is 
Monas-       a  later  addition.     Round  the  basilica  congregated   4 
teries.         monasteries ;     one    dedicated    to     SS.    Andrew    and 
Stephen  ;  the  second  to  SS.  Cosma  and  Damian  ;  the 
third  of  S.  Andrew,  with  a  basilica  dedicated  to  that 
Apostle  by  Simplicms,  a.d.  468-483  ;|  the  fourth  under 
the  invocation  of  SS.  Laurence,  Praxedis,  Agnes,  and 
Adrian.  §     In  the  xiv.  century  the  first  of  these  became 
a  hospital ;  the  third  was  occupied  by  the  convent  of 
S.  Antonio,  now  the  military  hospital ;  the  fourth  was 
the  convent  of  S.  Prassede,  close  by. 
The  From  a  passage  in   the  Liber  Pontificalis,  in   the 

ancient       record  of  the  acts  of  Paschal  I.,  we  learn,  says  De 
apse.  Rossi,  that   the   tribune  of  S.  Maria   Maggiore  was 

*  This  inscription  shows  that  the  Esquiline  used  to  be  called 
Sjipera^to,  a  reminiscence  of  the  agger  of  Servius  Tullius,  which 
ran  across  the  front  of  the  site  of  the  basilica  (De  Rossi, 
Musaici). 

t  The  Virgin  Mary  appeared  to  Pope  Liberius,  saying :  "  Make 
me  a  church  on  the  hill  Superagio,  as  the  snow  shall  indicate." 

I  Lib.  Pont,  in  Simplicio. 

§  An  ancient  church  dedicated  to  S.  Agnese  existed  by  S. 
Prassede  to  the  time  of  Pius  V. 


MAJOR  BASILICAS  135 

anciently  constructed  with  open  arches  communicating 
with  an  ambulacrum.  The  passage  states  that  the 
pontiff  could  not  speak  to  his  assistants  without  speak- 
ing across  the  women.  De  Rossi  hence  concludes 
that  the  place  reserved  for  women  in  the  basilica  was 
in  the  tribune  behind  the  episcopal  chair,  a  portion 
incorporated  later  with  the  presbytery.  Women  had 
their  places  here  in  the  time  of  Paschal  I. ;  the  same 
arrangement  obtained  at  S.  Sebastiano  Fuori,  and  in 
the  apse  of  SS.  Cosma  and  Damian  in  the  Forum,  and 
is  found  also  in  Naples. 

This  celebrated  church  has  witnessed  two  historical 
scenes  :  the  first  being  the  slaughter  of  the  followers  of 
Ursicinius,  soon  after  it  was  built ;  the  other  the 
abduction  of  Gregory  VII.,  Hildebrand,  in  1075,  on 
Christmas  day,  when  Cencio  and  his  companion 
conspirators  laid  violent  hands  on  him  at  the  altar ; 
and  here  Hildebrand  was  brought  back  in  triumph 
shortly  after,  to  finish  his  interrupted  Mass. 

The  Kings  of  Spain  were  protectors  of  the  basilica  of 
S.  Maria  Maggiore. 

Feast  day. — August  5  (Titular  and  Dedication  feast). 

The  Station  is  on  the  2nd  Wednesday  in  Lent. 

S.  SEBASTIANO,  on  the  Via  Appia,  on  the  right  hand 
after  passing  the  cemetery  of  Callistus.  The  original 
appellation  of  this  ancient  basilica  appears  to  have  been 
SS.  Peter  and  Paul.  It  marks  the  site  where  the  bodies 
of  the  Apostles  rested.  It  is  recorded  of  the  martyr- 
bishop  Quirinus,  whose  image  is  in  the  crypt  of  S.  Cecilia 
at  S.  Callistus,  but  whose  body  was  buried  here  ad 
Catacumbas,  that  he  lay  in  basilica  apostolorum  Petri  et 
Pauli  ubi  aliquando  Jacuenmt  et  nbi  S.  Sebastia  nus  re- 
quiescit. 

In  the  visitation  of  Urban  VIII.,  it  is  asserted  that 
the  walls  of  the  church  must  have  belonged  to  an 
ancient  Gentile  fabric ;  and  Bosius  says  that  the  church 
was  built  "  per  quanto  si  puo  vedere,  sopra  le  fonda- 
menta  d'un  antico  edificio  di  Gentili." 

The  erection  of  this  basiHca  is  attributed  to  Con- 


136       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

stantine  ;  and  it  is  one  of  the  seven  churches  of  pilgrimage. 

Unfortunately  Cardinal   Scipio  Borghese   remodelled 

and  restored  away  the  ancient  building,  in  1611,  from 

the  designs  of  Flaminio  Ponzio,  so  that  the  present 

church   is   a   xvii.    century   structure.      The    portico 

and  fa9ade  were  then  added.     The  interior  consists 

of  a  single   nave,   the  wooden   roof  being   the  same 

Cardinal's  work,  from  designs  of  the  Fleming  Vasanzio, 

together  with  the  portico  and  frontage.     To  the  left  is 

Chapel  of  the  chapel  of  S.  Sebastian,  which  it  will  be  observed 

S.  Sebas-   is  not  placed  in  the  usual  spot  for  the  titular  martyr  or 

tian.  saint  of  a  church.     The  present  chapel  is  the  work  of 

Ciro  Ferri,  and  the  recumbent  statue  of  the  martyr  by 

Bernini's  pupil,  A.  Giorgetti. 

Before  161 1  could  be  seen  the  original  altar  placed 
and  dedicated  by  Honorius  III.  (12 16),  under  which 
lay  the  martyr's  remains  in  the  urn  which  we  still  see. 
But  the  level  at  which  this  altar  stood  was  the 
primitive  level — in  luogo  profondo,  as  it  is  described  by 
Bosius — in  which  Lucina  buried  this  celebrated  martyr, 
at  "the  mouth  of  the  crypts."  This  interesting  crypt 
had  been  preserved  and  incorporated  with  the  basilica 
by  means  of  a  staircase  leading  to  it ;  to-day  it  lies 
empty  and  neglected  beneath  the  present  confession/'- 
The  earliest  notice  of  S.  Sebastian's  shrine  is  of  the 
time  of  Innocent  I.  (402-417) ;  it  consists  in  the  follow- 
ing votive  inscription  placed  there,  and  now  in  the 
Lateran  Museum :  "In  the  time  of  S.  Innocent,  bishop, 
Proclinus  and  Ursus,  priests  of  the  titulus  Bizantis,  have 
made  this  to  the  holy  martyr  Sebastian,  ex  votoJ" 
Right  On  the  right,  the  first  altar  contains  relics,  and  is 

Aisle.  enclosed  behind  a  grating ;  the  secojid  chapel  has  a 
Madonna  and  S.  Anna  with  the  divine  Child  in  her 
arms.  The  third  altar  has  a  picture  of  the  Assumption. 
The  fourth  chapel  has  a  statue  of  S.  Fabian,  pope  and 

*  When  Adrian  I.  restored  the  old  church  [in  ruinis  prcBventam 
a  novo  restauravit),  Sebastian's  crypt  was  arranged  so  as  to  form 
the  confession  of  the  altar  placed  above  at  the  level  of  the  basilica. 
The  body  now  however  as  we  see  lies  above. 


MAJOR  BASILICAS  137 

martyr.     In  the  tribune  is  a  fresco  of  the  Crucifixion. 
The  third  chapel  on  the  left  is  dedicated  to  S.  Francis,  Left  Aisle, 
who   is   represented ;    the   second  is   an   altar   with    a    , 
picture  of  S.  Charles  Borromeo. 

Opposite  to  the  Chapel  of  S.  Fabian  is  the  entrance  Subter- 
to  the  subterranean  Chapel  of  SS.  Peter  and  Paul  (see  ranean 
Cemetery  ad  catacimbas).     On  the  left-hand  side  of  the  '^'^^P^'- 
nave,  over  a  doorway,  is  an  xviii.  century  inscription, 
in  Latin  and  Italian,  relating  to  S.  Philip  Neri,  who 
here  passed  days  and  nights  in  prayer  in  a  room  adjacent, 
and  in  a  crypt  below ;  and  S.  Sebastiano  formed  the 
centre-point  of  his  "  pilgrimages  to  the  seven  churches," 
the  cemetery  beneath  being  as  we  know  mistaken  for 
the  illustrious  catacomb  of  Callistus. 

Of  the  few  ancient  remains  to  be  found  here,  one  is 
the  Damasine  carmen  on  Eutychius,  whose  tomb  is 
here  ;  it  is  on  the  left  of  the  entrance. 

The  Benedictines  were  placed  here  by  Alexander  III.,  Monas- 
and  to  this  period  belongs  a  fragment  which  has  been  tery. 
employed  in  the  subterraneum  :  "  .  .  .  esima  abba 
TissA.  ...  DE.  .  .  ."  To  the  Benedictines  suc- 
ceeded, in  the  xvii.  century,  the  reformed  Cistercians. 
Finally  Gregory  XVI.  gave  the  church  into  the  care 
of  the  Minor  Observants  of  S.  Francis,  of  the  Roman 
province,  who  now  possess  it. 

The  Libri  Indulgentiarum  place  S.  Sebastiano,  with 
the  cemetery  beneath,  "  of  Callixtus,"  next  after  the 
basilicas  of  SS.  Peter  and  Paul.  It  was  made  a 
parochial  church  by  Clement  XL 

Here  Gregory  the  Great  preached  his  thirty-seventh 
homily  on  the  Gospels. 

Ruins  of  other  Christian  buildings  may  still  be 
traced  round  the  basilica.  One  of  these  was  a 
church  in  honour  of  S.  Maximus ;  another  to  S. 
Quirinus. 

In  the  Jubilee  of  1575,  the  charts  "of  the  seven 
churches  "  mention  "  the  portrait  of  S.  Sebastian  before 
the  portico."     This  has  disappeared. 
Feast  day. — January  20. 


138       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

B.  8BBABTIAK. — The  Fcast  of  S.  Sebastian  is  kept  with 
that  of  Pope  Fabian.  He  was  martyred  during  the 
reign  of  Carinus  and  Numerianus,  in  270  a.d.  His  acts 
were  compiled  in  the  v.  century,  at  least  100  years 
after  the  events;  they  are  embellished,  and  not  of  much 
value,  and  the  chronology  is  erroneous.  His  father  is 
said  to  have  come  from  the  ancient  Narbonensis  (Nar- 
bonne),  and  his  mother  from  Milan.  The  Acta  call  him 
commander  of  the  first  cohort  under  Diocletian,  and 
say  that  being  secretly  a  Christian,  he  assisted  the 
Christians  in  every  way,  and  exhorted  to  constancy 
those  who  dreaded  the  torture.  Amongst  these  were 
the  brothers  Marcus  and  Marcellianus,  who  were  kept 
in  charge  of  one  Nicostratus,  whose  wife  Zoe  was 
healed  by  Sebastian.  These  things  were  told  to 
Diocletian,  who,  with  much  vehemence,  and  by  every 
means  in  his  power,  strove  to  turn  Sebastian  from  the 
faith.  Failing  in  this,  he  ordered  him  to  be  bound  to 
a  stake  and  shot  with  arrows.  Being  then,  in  the 
opinion  of  all,  left  for  dead,  a  holy  woman  called  Irene, 
who  had  obtained  the  necessary  permission  to  bury 
him,  had  him  carried  away  by  night,  and  cured  him  in 
her  house.  When  he  was  strong,  he  again  met 
Diocletian,  and  freely  charged  him  with  his  impiety. 
The  Emperor,  stupefied  at  seeing  one  he  believed  to 
be  dead,  yet  the  more  burning  with  rage  against  him, 
ordered  that  he  should  be  beaten  till  he  died.  His 
body  was  then  thrown  into  a  drain.  But  Lucina 
being,  it  is  said,  told  by  Sebastian  in  a  dream  where 
his  body  lay,  and  where  he  wished  to  be  buried, 
buried  him  ad  catacmnbas  :  '^Jnxta  vestigia  apostolorum," 
it  is  recorded. 

Gregory  IV.  removed  his  body  to  the  Vatican,  and 
Honorius  III.  retranslated  it  to  S.  Sebastiano,  a.d. 
1218. 

The  subject  of  Irene  curing  the  wounds  of  Sebastian 
has  been  treated  in  art.  S.  Sebastian  cannot  be  mis- 
taken in  pictures ;  he  is  tied  to  the  stake,  the  shot 
arrows  in  his  body. 


MAJOR  BASILICAS  139 

S.  CROCE  IN  GEEUSALEMME.— It  is  stated  in  the  Liber 
Pontificalis  of  Sylvester  I.  that  this  basiUca  owes  its 
origin  to  the  Empress  Helena,  mother  of  Constantine,  History, 
and  it  is  possible  that  she  erected  on  this  site  a  chapel 
in  which  to  deposit  the  rehc  of  the  true  cross  said  to 
have  been  brought  by  her  from  Calvary.  Two  in- 
scriptions found  in  the  vicinity  do  certainly  connect  her 
name  with  the  basilica.  The  first,  much  mutilated,  is 
now  in  the  Vatican  Museum  ;  the  other  is  cut  upon  a 
pedestal  which  now  supports  the  statue  of  the  Empress 
in  the  lower  chapel  of  Helena,  and  is  not  later  in  date 
than  327,"  the  year  of  Constantine's  absence  from 
Rome,  when  Helena  went  to  visit  the  sacred  places  in 
the  Holy  Land. 

Ruins  of  the  imperial  palace  of  Sextus  Varius,  father 
of  Heliogabalus,  called  the  Sessorian  Palace,  still  exist 
close  to  the  church,  and  gave  their  name  to  the  neigh- 
bouring gate  of  S.  Maria  Maggiore,  which  was  origin- 
ally called  Porta  Sessoriana.  It  was  perhaps  in  a  portion 
of  this  palace  that  Helena  erected  the  basilica.  It  was 
not  called  "Santa  Croce  "  until  after  the  iv.  century. 
It  was  first  known  as  Basilica  Heleniana  and  is  so 
called  under  Sixtus  III.  in  433,  when  a  council  was 
held  in  it ;  then  as  Sancta  Hierusalem,  and  for  a  long 
time  it  was  the  custom  for  the  Pope  to  hold  in  his  hand 
a  golden  rose  during  the  ceremonies  performed  in  this 
church  on  the  fourth  Sunday  in  Lent,  symbolizing  the 
joys  of  the  celestial  garden  in  mystic  Jerusalem.! 

♦  Dominas  nostrse  fl  .  iul 
Helense  piisimae  .  aug 
Genetrici  .  d  .  n  .  costan 
Tini  .  maximi  .  victoris 
Clementissimi  .  semper 
augusti  .  aviae  constat! 
tini  .  at  constanti  .  beatis 
simorum  .  ac  .  florentis 
simorum  principum 
Julius  maximilianus  .  v  .  c  .  comes 
Pietati  eivs  semper  dicatis. 
f  De  Rossi,  Bull,  d'  Arch.  Christ.,  1872.     See  also  Part  II.  for 
another  suggested  meaning. 


I40       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Gregory  the  Great  declared  Santa  Croce  a  titular 
church,  and  it  was  entirely  repaired  by  Gregory  II. 
in  720,  and  again  by  Lucian  II.  (1144-1145)  and 
Eugenius  III.  (i  145- 1 153).  Through  the  middle  ages 
it  was  one  of  the  7  pilgrimage  churches. 
Monas-  The  annexed  monastery  was  built  by  Benedict  VII. 

ten'-  in   975,  as   an   inscription   therein   still   records,  and 

History.  ^^^  ^X.  (1049-1055)  gave  it  to  the  Abbot  of  Monte 
Cassino.  Alexander  II,  (1061-1073),  however,  sub- 
stituted the  canons  regular  of  S.  Frediano  of  Lucca, 
who  held  it  for  270  years,  retaining  the  privilege  of 
choosing  from  their  own  number  the  titular  of  the 
church. 

During  the  sojourn  of  the  popes  at  Avignon,  Santa 
Croce  was  deserted,  and  almost  fell  into  ruins,  a  fate 
which  befell  many  buildings  at  this  time.  It  was 
however  once  more  restored  by  Urban  V.  about  1370, 
with  money  left  by  two  members  of  the  Orsini  family 
for  the  purpose  of  erecting  a  Carthusian  monastery  in 
this  neighbourhood. 

Carthusian  monks  were  therefore  established  in  Santa 
Croce,  and  these  remained  until  the  time  of  Pius  IV. 
(1559-1566),  who  removed  here  the  Cistercians  of 
S.  Sabba.  A  portion  of  the  Cistercian  monastery  is 
now  used  as  a  barrack  by  the  Italian  Government. 

The  church  retained  its  primitive  basilica  form  until 
the  pontificate  of  Benedict  XIV.,  who  destroyed  the 
ancient  fa9ade  and  portico,  and  substituted  the  present 
facade  and  oval  vestibule  in  1774  from  the  designs  of 
Passalacque.  This  Pope  also  removed  part  of  the  hill 
then  existing  between  S.  Croce  and  the  Lateran,  which 
obscured  the  view  from  the  former,  and  made  it  difficult 
of  access.  This  hill  was  anciently  called  Monte  Cipolantw, 
from  the  garlic  and  onions  grown  upon  it  for  the  feast 
of  S.  Giovanni.  Onions,  a  dish  of  salt,  and  a  broom- 
stick, being  set  outside  each  door  at  eleven  or  twelve 
o'clock  at  night  on  the  eve  of  S.  John,  June  23,  as  a 
protection  against  the  witches  believed  to  be  let  loose 
on  that  day  !; 


MAJOR  BASILICAS  141 

It  is  said  that  Innocent  III.  (11 98- 12 16)  walked  in 
procession  barefoot  from  the  Lateran  to  S.  Croce  to 
implore  victory  against  the  Saracens. 

The  interior  of  the  church  has  retained  little  of  its  Interior, 
original  form.  Some  of  its  ancient  columns  were  en- 
cased in  masonry  for  greater  strength  when  the  new 
roof  was  made  by  Benedict  XIV.,  and  only  8,  of 
red  and  gray  Egyptian  granite,  still  remain  visible. 
The  vault  of  the  roof  is  painted  by  Giacquinto,  and 
the  paintings  of  the  apse,  representing  the  discovery 
and  placing  in  this  church  of  the  relic  of  the  true  cross, 
have  been  attributed  to  Perugino  and  Pinturicchio, 
though  on  doubtful  grounds. 

In  the  interior  of  the  portico  are  4  granite  columns, 
and  2  of  bigio  lumachellata. 

Above  the  high  altar  is  a  baldacchino  upon  4  pillars 
— two  oi  porta  santa,  and  two  of  breccia  corallina  ;  beneath 
is  a  fine  urn  of  green  basalt,  containing  the  relics  of 
SS.  Cesareo  and  Anastasio. 

The  most  antique  portion  of  the  basilica  is  the  Chapel  of 
chapel  of  S.  Helena  in  the  crypt.  This  is  another  S.  Helena. 
Christian  monument  closed  to  women,  as  an  inscrip- 
tion upon  the  wall  states.  The  vault  of  this  chapel  is 
covered  with  mosaics,  said  to  date  from  the  Emperor 
Valentinian  III.  (425),  but  much  restored  and  re- 
touched. They  represent  Christ  between  the  4  Evan- 
gelists, with  S.  Helena  and  S.  Sylvester. 

Over  the  altar  a  picture  by  Rubens  used  to  stand, 
now  in  England,  and  replaced  by  a  statue  of  S.  Helena. 
On  either  side  are  statues  of  Peter  and  Paul,  of  the 
XII.  century.  The  floor  of  this  chapel  is  said  to  have 
been  covered  with  earth  brought  from  Jerusalem  by 
Helena. 

The  ciborium  of  the  high  altar  of  the  church  is  the  High 
work  of  the  great  marble  carvers,  the  brothers  Sassi,  ^\fi^ . 
whose  names  appear  in  an  inscription  upon  it.     The         nun»- 
name  of  Vassalectus  has  also  recently  been  found. 

Another  interesting  inscription  upon  the  sepulchral  Inscrip- 
slab  of  Benedict  VII.  (974-983),  on  the  right  of  the  tions. 


142       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

entrance,  records  the  misdeeds  of  the  Antipope  Boni- 
face VII.,  who  invaded  the  Holy  See  in  974,  killed 
Benedict  VI.  (972-973),  and  robbed  the  treasures  of 
the  Vatican  basilica.  Other  interesting  and  important 
inscriptions  have  been  attached  to  the  wall  in  and  near 
the  vestibule. 

The  relic  of  the  true  cross,  which  consists  of  the 
title  written  in  the  three  languages,  was  found  walled 
up  in  one  of  the  arches  of  the  apse  during  some  restora- 
tions undertaken  by  Cardinal  Mendoza  in  1492.  Other 
relics  are  preserved  in  this  church,  which  are  shown 
on  Good  Friday,  on  May  3,  and  in  the  afternoon  of 
the  fourth  Sunday  in  Lent. 

Here  Pope  Sylvester  II.  (Gerbert)  died  while  cele- 
brating mass  in- 1003. 

The  bell  tower  dates  from  1196. 

Feast  days. — Invention  of  the  Cross,  May  3  ;  Exaltation  of  the 
Cross,  September  14  ;  Dedication  of  the  Chapel  of  S.  Helena, 
March  20. 

The  Station  is  on  Good  Friday,  and  on  the  4th  Sunday  in 
Lent. 

For  the  account  of  Helena's  finding  of  the  cross,  see 
Part  II.  of  this  handbook. 

THE  BASILICA  OF  s.  LOBENZO  is  one  of  the  7  founda- 
tions attributed  to  Constantine.  The  itineraries  of  the 
VII.  century  distinguish  2  basilicas — the  church  at- 
tributed to  Constantine,  which,  first  restored  in  the 
middle  of  the  v.  century  under  Sixtus  III.  at  the 
cost  of  Galla  Placidia,  was  certainly  reconstructed 
by  Pelagius  II,  (578-590),  and  was  called  Basilica 
Speciosior  or  Nova  ;  and  the  Basilica  Maior — mentioned 
by  the  Liber  Pontificalis  in  the  life  of  Adrian  I. 
(771-792),  and  in  that  of  Hilary  (461),  and  clearly 
indicated  by  the  Salzburg  Itinerary  in  the  early 
VII.  century — which  was  dedicated  to  the  Blessed 
Virgin.* 

The   first   church   was   built   in   the   midst   of  the 

*  In  basilica  majove  quce  appellatur  S.  Dei  Genitricis,  qua  adharet 
beat!  Laurentii.     Lib.  Pont.,  in  Adriano. 


MAJOR  BASILICAS  143 

cemetery,  its  level  corresponding  with  that  of  the  lower 
galleries.  A  basilica  here  is  mentioned  by  Prudentius,* 
while  in  the  most  ancient  recension  of  the  Liber  Ponti- 
ficahs  which  ends  with  the  name  of  Felix  IV.  (526), 
Constantine  is  declared  to  have  been  its  author.  This 
church  ad  corpus  was  small,  in  order  that  the  cemetery 
might  not  be  disturbed.  The  Pelagian  reconstruction 
having  taken  place  some  120  years  after  the  probable 
date  of  the  Basilica  Maior,  became  thenceforth  known 
as  Basilica  Nova. 

Again  in  the  time  of  Leo  IV.  (850)  we  read  of 
the  "  Basilica  sanctae  Dei  Genitricis  Juxta  basiUcam 
S.  Laurentii " :  and  so  the  two  buildings  remained 
di'stinct  until  the  end  of  the  xii.  century. 

The  level  of  the  Constantinian  basilica  of  S.  Lorenzo 
was  the  same  as  that  of  the  lower  part  of  the  church 
to  which  we  descend  to-day  ;  the  door  was  on  the  east 
side,  where  the  sepulchre  of  Pius  IX.  is  now.  The 
apse  of  the  Pelagian  church  was  back  to  back  with 
the  apse  of  the  v.  century  church,  and  there  was 
probably  a  communication  between  them. 

In  1 2 16  Honorius  III.  constructed  the  basilica  as 
we  now  see  it  by  uniting  the  two  churches.  The 
whole  basilica  was  made  to  open  towards  the  west, 
and  the  present  portico  was  erected.  This  necessitated 
the  destruction  of  the  Pelagian  apse,  but  the  upper 
part  remains  in  the  mosaic  which  decorates  the  face 
of  the  present  arch.  The  first  Constantinian  church 
was  so  buried  in  the  cemetery  that  the  great  work  of 
Pelagius  consisted  in  "  removing  the  darkness."  He 
demovit  tenebras,  we  are  told,  by  raising  the  walls  and 
the  floor  ;  he  also  added  another  column  each  side, 
thus  increasing  the  space.  We  see  that  the  bases  of 
these  are  higher  than  those  of  the  original  columns. 
Finally  he  removed  a  large  part  of  the  hill  against 
which  the  basilica  stands,  which  owing  to  inundations 
of  the  Tiber  was  in  a  falling  condition  and  threatened 
to  bury  the  church. 

*  Lib.  De  Coronis,  Hymn  ii. 


144       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Portico.  Entering  the  portico  of  Honorius,  which  is  supported 
by  6  columns,  and  has  3  entrances  to  the  basiUca, 
the  paintings  round,  in  a  rude  style,  represent  scenes 
in  the  life  of  Laurence,  and  prodigies  which  are  said 
to  have  taken  place  at  his  tomb  as  narrated  by  Gregory 
the  Great ;  as  well  as  the  Hfe  of  the  hermit  S. 
Hyacinth.  But  the  paintings  of  special  interest  are 
those  which  represent,  to  the  left,  Honorius  HI.  bless- 
ing and  communicating  Pierre  de  Courtenay  Count 
d'Auxerre  who  was  crowned  Emperor  of  the  East  in 
this  basilica  by  Honorius  in  121 7,  with  his  wife  lole. 
These  pictures  have  been  recently  restored  and  re- 
painted. The  paintings  of  the  popes  above  are  modern. 
On  the  left  of  the  central  door  is  a  sarcophagus  whith 
used  to  stand  in  the  Pelagian  church  ;  the  bas-reliefs 
represent  a  vintage,  and  genii  are  the  vine-gatherers. 
It  is  believed  that  this  sarcophagus  contained  the  body 
of  Pope  Zosimus  (417),  and  then  of  Damasus  H. 
(1048).  The  2  canopied  sarcophagi  were  brought  from 
the  cloisters.  The  posts  of  the  central  door  rest  on  lions. 
(Compare  with  S.  Lorenzo  in  Lucina,  and  SS.  Giovanni 
e  Paolo.) 

Nave.  The  Nave,  added  by  Honorius,  is  divided  from  2  aisles 

by  22  antique  granite  and  cipollina  columns  with  Ionic 
capitals.  On  the  8th  column  on  the  right  a  frog  and 
lizard  are  sculptured  ;  this  has  led  to  the  supposition 
that  this  column  at  least  must  have  been  brought  from 
one  of  the  temples  in  the  portico  of  Octavia.  Pliny 
relates  that  the  architects  of  these  temples,  Sauros  and 
Batrachus,  asked,  as  their  only  reward,  to  be  allowed 
to  inscribe  their  names  on  their  work.  As  this  was  re- 
fused, they  sculped  a  lizard  and  frog  among  the  orna- 
ments, these  being  the  significations  of  their  names. 
Fragments  which  are  supposed  to  refer  to  the  naval 
victory  of  Actium  have  been  found  in  the  ornamenta- 
tion near.  On  either  side  of  the  nave,  on  the  wall  be- 
tween the  windows,  are  represented  the  story  of  the 
deacon  Stephen  and  that  of  the  deacon  Laurence,  by 
Fracassini.     The  latter,  to  the  right,  is  divided  into 


MAJOR  BASILICAS  145 

four  scenes  (beginning  at  the  altar  end) :  (a)  S.  Laurence 
gives  the  goods  to  the  poor  ;  {h)  Laurence  shows  the 
Roman  officer  the  "treasure  of  the  church";  (c)  his 
martyrdom  ;  (i)  his  burial. 

The  subjects  are  treated  with  great  beauty  and 
simpHcity.  On  the  left  hand  of  a  person  entering  the 
church  is  the  cycle  of  the  protomartyr  Stephen. 

Before  reaching  the  tribune  there  are  2  chapels,  right 
and  left ;  the  latter  is  cryptal,  and  reached  by  stairs  ; 
the  former  is  the  chapel  of  the  Sacrament,  and  has  a 
picture  representing  Cyriaca  recovering  the  body  of 
Laurence. 

Two  ambones  stand  in  the  nave,  at  the  comers  of 
that  raised  portion  which  constituted  the  body  of  the 
Pelagian  church,  but  was  converted  into  the  tribune 
by  Honorius.  The  Gospel  ambo  has  2  flights  of  steps. 
Near  it  stands  a  candelabrum  decorated  with  mosaic, 
on  a  reversed  Roman  cippus  sculptured  with  birds  and 
olive.  This  portion  of  the  church  is  adorned  with  10 
antique  fluted  pavonazzetto  and  white  marble  columns. 
The  entablature  consists  of  antique  sculpture  and 
friezes. 

We  now  ascend  to  the  present  pyesbyterium,  by  7 
steps.  On  the  staircase  to  the  right  is  an  inscription 
of  the  date  1254  (Alexander  IV.),  which  shows  that 
this  portion  is  later  than  Honorius.  The  platform  was 
erected  by  Honorius  half  way  up  the  shafts  of  the  fine 
columns  above  mentioned  ;  the  aisles  were  filled  in, 
and  have  only  been  again  exposed  to  view  and  the 
columns  disengaged  in  this  century.-''  The  fine  entab- 
lature of  these  columns  supports  a  gallery,  which 
like  that  of  S.  Agnese  (the  only  other  instance  in 
Rome)  was  intended  for  women  ;  the  men  being  in  the 
nave  below.  This  gallery  is  surrounded  by  smaller 
columns.  In  the  tribune  apse  is  a  marble  and  mosaic 
screen,  panelled  with  green  and  red  porphyry  ;  in  the 
centre,  an  episcopal  chair  flanked  by  mosaic  twisted 

*  Early  Christian  inscriptions  and  paintings  belonging  to  the 
cemetery  of  S.  Cyriaca  were  then  found  here. 

10 


146       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

columns.  Over  the  arch,  where  originally  was  the 
apse  of  the  Pelagian  basilica,  and  facing  the  present 
apse,  is  the  mosaic  placed  here  by  Pelagius  ;  the  Re- 
deemer is  represented  between  Peter  and  Paul,  with 
SS.  Stephen,  Lawrence,  Hippolytus,  and  Pope  Pelagius 
offering  the  church  ;  on  either  side,  the  mystical  cities 
of  Bethlehem  and  Jerusalem.  The  pavement  is  the 
cosmatesque  called  "  opus  alexandnniim." 
Crypt.  If  we  now  descend  to  the  nave,  a  flight  of  steps  on 

the  left  leads  to  the  crypt  which  formed  the  vestibule 
of  the  Pelagian  church  ;  part  of  the  primitive  pavement 
remains.  The  Madonna  and  saints  and  Sixtus  III.  are 
painted  in  arched  niches.  The  period  of  the  paintings 
is  about  the  ix.  century.  The  Confession  contains  the 
marble  sarcophagus  of  SS.  Stephen,  whose  body  was 
brought  here  from  Constantinople,  Laurence,  and 
Justinus.  The  stone  on  which  the  craticula  of  S. 
Laurence  is  said  to  have  been  laid  is  behind  a  bronze 
grating.  The  body  of  Laurence  lies  in  its  original 
position.  The  tabernacle  of  the  high  altar  just  above 
this,  is  dated  1148,  and  is  therefore  earlier  than  the 
Honorian  church.  It  was  executed  by  the  sons  of  the 
XII.  century  Roman  marble  worker,  Magister  Paulus. 
Tomb  of  Within  the  last  few  years  the  tomb  of  Pius  IX.  has 
Pius  IX.  been  completed  in  this  portion  of  the  old  church.  The 
marble  urn,  according  to  his  wish,  is  very  simple,  but 
the  walls  have  been  magnificently  decorated  in  mosaic ; 
the  arms  of  the  Pope  and  of  all  contributors  of  money 
(500  francs  or  more)  towards  the  work,  and,  by  the 
entrance,  the  armorials  of  the  religious  congregations 
— "  Famiglie  Religiose  " — are  inserted  as  decoration.* 
The  principal  figures  are  well  chosen :  Cyriaca  the 
founder  of  the  cemetery ;  Laurence  the  Patron  of 
the  basilica  ;  Francis,  who  was  seen  by  Innocent  III.  in 

•  Pius  IX.  directed  that  only  a  small  sum— ;^2oo — should  be 
spent  on  his  monument.  The  work  we  now  see,  therefore,  is  the 
result  of  voluntary  offerings,  and  the  offerers  represent  all  nations. 
Over  the  simple  urn  is  the  Good  Shepherd ;  Stephen  and  Lau- 
rence on  either  hand.  To  the  right  S.  Joseph,  between  SS. 
Francis  and  Catherine ;  to  the  left,  Cyriaca  and  Agnes. 


MAJOR  BASILICAS  147 

a  dream  upholding  the  fallen  Lateran  (typifying  the 
Church)  ;  Catherine,  who  brought  the  popes  back  to 
Rome.  The  crypts  of  S.  Cyriaca  were  entered  from 
here  ;  and  there  are  some  old  marble  fragments  to  be 
seen. 

Returning  to  the  entrance  of  the  church,  notice  on 
the  left  the  Roman  sarcophagus,  with  sculptures  repre- 
senting a  marriage.  It  is  now  the  tomb  of  the  nephew 
of  Innocent  IV.,  Cardinal  dei  Fieschi. 

The  ancient  east  front  of  the  basilica  is  very  inter- 
esting as  affording  some  idea  of  the  relation  of  the 
basilica  to  the  cemetery ;  the  hill  has  been  cut  away 
so  as  to  leave  it  exposed.  In  the  cloisters  are  arranged 
inscriptions  from  the  catacomb  beneath. 

The  present  fa9ade  of  the  basilica  is  painted  to  imi- 
tate mosaic  ;  the  figures  are  Sixtus  III.,  Pelagius  II., 
Adrian  I.,  Honorius  III.,  Pius  IX.,  and  Constantine. 
They  are  all  modern.  The  basilica  with  its  chapels, 
small  churches,  and  monasteries,  was  anciently  sur- 
rounded by  a  wall,  and  formed  a  veritable  little  town- 
ship, as  in  the  case  of  other  basilicas.  The  Visitation 
of  Urban  VIII.  tells  us  that  it  used  "  ad  instar  castri 
circumdatum  fuisse,"  and  a  large  part  of  the  wall 
reaching  to  the  Via  Tiburtina  still  existed  when  the 
Visitation  was  made. 

It  is  very  probable  that  in  the  iv.  century  an  asci- 
tarium  of  virgines  sacra,  or  society  of  dedicated  women, 
existed  near  the  basilica ;  at  any  rate  this  was  one  of 
the  regions  where  the  earliest  foundations  of  religious 
women  were  to  be  found.  An  inscription  discovered 
here  bears  these  words  : 

ADEODATiE    DIGN^   ET    MERIT/E    VIRGINI 
QUIESCIT    HIC   IN    PACE   JUBENTE    XPO    EIUS ; 

that  is.  To  Adeodata,  the  worthy  and  justly -deserving  virgin. 
She  rests  in  peace  by  the  will  of  her  Christ.  "  Adeodata 
qui  riposa  in  pace  per  volere  del  suo  Cristo,"  De  Rossi 
translates ;  and  points  out  the  identity  of  meaning  with 
the  title  of  a  virgin  to-day,  "  the  spouse  of  Christ." 


148       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Near  the  basilica  were  found  several  iv.  and  v. 
century  inscriptions,  one  is  : 

QUIESCIT    IN    PACE    PRAETEXTATA 
(a.D.  464.)      VIRGO    SACRA    DEPOSITA   D    •    VII 

ID    •    AUG    •    CONS    •    RUSTICI    ET    OLYBRI. 

Her  name  shows  that  she  belonged  to  the  noble 
Vetti  Agori,  of  whom  was  Vettius  Agorius  Praetextatus, 
the  pagan  friend  of  Pope  Damasus,  to  whom  he  would 
say  :  "  Make  me  Bishop  of  Rome,  and  I  will  declare  myself 
a  Christian.'" 

In  the  vicinity  of  the  basilica  was  found  the  tomb  of 
a  vir  clarissimus,  Licentius,  whom  De  Rossi  supposes 
to  be  the  same  Licentius  beloved  by  Augustine  and 
commended  by  him  to  Paulinus  of  Nola ;  to  whom  also 
the  latter  addressed  one  of  his  hymns.  "  Live,  I  pray 
thee,  but  live  to  God,  for  to  live  to  the  world  is  a  work 
of  death,  the  living  life  is  to  live  to  God  "  {viva  est 
vivere  vita  Deo). 

Fragments  of  two  Damasine  inscriptions  have  been 
found  here. 

In  the  atrium  of  the  basilica,  and  not  far  from  the 
entrance  to  the  Campo  Verano,  there  existed  an  ancient 
oratory  to  SS.  Abbondius  and  Irenaeus.  A  church  of 
S.  Stephen  is  mentioned  by  the  Liber  Pontificalis,  and 
there  was  also  one  dedicated  to  Agapitus. 

The  basilica  of  S.  Lorenzo  is  now  in  the  care  of  the 
Franciscans. 

Feast  day. — August  10. 

The  Station  is  on  the  3rd  Sunday  in  Lent. 

B.  LORENZO. — No  figure  of  the  early  Church  in  Rome 
exceeds  in  importance  that  of  the  martyr  Laurentius 
(Laurence).  His  blameless  life,  his  awfial  martyrdom, 
and  its  effect  on  Roman  society,  combined  to  give  him 
in  life  and  in  death  an  extraordinary  influence.  The 
"  Acts  of  S.  Laurence  "  were  written  in  the  v.  century  ; 
but  the  circumstances  there  recorded  are  referred  to 
by  the  Fathers  of  the  iv.  and  v.  Laurentius  was 
the  first  among  the  7  deacons  of  Rome,  and  therefore 


MAJOR  BASILICAS  149 

its  Archdeacon  during  the  episcopate  of  Sixtus  II.  (a.d. 
257-258).  As  such  he  administered  the  goods  of  the 
Church,  and  his  apprehension  on  the  charge  of  being 
a  Christian  is  certainly  due  in  the  first  instance  to 
cupidity.  The  Church  was  known  to  possess  treasure, 
and  Laurentius  was  asked  to  give  an  account  of  it. 
He  said  he  would  do  so,  and  appeared  before  the 
Roman  officer,  leading  a  band  of  the  poor  with  him. 
"  Behold,"  said  he,  "  the  treasure  of  the  Church  ;  for  I 
have  expended  its  riches  on  the  poor."  Upon  this 
Laurence  was  condemned  to  die ;  and  there  appears  to 
be  little  doubt  that  the  great  brutality  of  his  martyrdom 
was  due  to  his  having  disappointed  his  tormentors  of 
their  spoil.  He  was  condemned  to  the  torture  of  the 
burning  craticula,  or  gridiron.  But  it  is  said  that  a  few 
days  before  his  OAvn  death  he  saw  his  bishop  the  aged 
Sixtus  being  led  to  death,  and  thus  accosted  him  : 
"  Where  goest  thou  without  thy  son,  O  father  ? 
Whither  goest  thou  forth,  holy  priest,  without  thy 
deacon  ?  Never  hast  thou  been  accustomed  to  offer 
the  sacrifice  without  a  minister.  In  what  have  I  dis- 
pleased my  father  ?  Hast  thou  found  me  a  degenerate 
son,  to  whom  thou  didst  commit  the  ministration  of 
the  Lord's  blood?"  "I  do  not  leave  thee,  my  son, 
or  desert  thee,"  said  Sixtus,  "  but  a  still  greater 
warfare  for  the  faith  of  Christ  is  reserved  to  thee. 
We,  as  old,  have  the  lightest  of  the  fight,  but  thou, 
O  youth,  wilt  more  gloriously  triumph  over  the 
tyrant ;  in  three  days  the  levite  shall  follow  the 
priest." 

The  young  deacon  showed  an  heroic  constancy, 
which  excites  our  wonder  and  reverence  to-day  as  it 
excited  a  supernatural  awe  in  the  men  who  looked 
upon  him.  Laurentius  cried,  "  I  adore  my  God  and 
serve  Him  only,  and  therefore  I  fear  not  thy  torments." 
It  is  said  that  the  executioners  increased  the  torment 
by  insulting  him  with  iron  prongs.  Laurence  said  to 
them  :  "  This  side  is  done  enough,  turn  me  over."  The 
soldier  Hippolytus  was  standing  by,  to  whom  he  had 


I50       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

said  "  O  Hippolytus  if  you  believe  in  the  Lord  Jesus 
Christ,  I  will  show  thee  great  treasures,  and  promise 
thee  eternal  life."  Then  praying,  "  I  give  Thee  thanks, 
O  Lord,  that  I  have  been  made  fit  to  enter  Thy  gates  !" 
Gratias  tibi  ago,  Domine,  quia  januas  tuas  ingndi  merui, 
he  died  in  that  torment. 

The  circumstance  that  while  he  was  on  the  revolving 
gridiron,  he  continued  to  deride  his  carnificers,  is  nar- 
rated by  Prudentius,  as  well  as  in  the  "Acta."  Laurence 
was  interred  in  her  cemetery  by  Cyriaca.  His  death 
is  said  to  have  had  the  largest  share,  together  with 
that  of  the  martyr  Agnes,  in  promoting  the  conversion 
of  the  noble  classes  of  Roman  society.  "  The  blood  of 
the  martyrs  is  the  seed  of  the  Church." 

The  feast  day  of  this  great  saint  has  a  vigil  and 
octave  ;  and  the  breviary  office  for  the  day  has  a 
beauty  and  appositeness  worthy  of  the  blamelessness 
which  called  it  forth. 

A  prayer  for  recitation  by  every  priest  on  returning 
from  the  altar  runs  as  follows :  Da  twbis,  quasumus, 
Domine,  vitiorum  mstrorum  fiammas  extinguere,  qui  heato 
Laurentio  tribuisti  tonnentorutn  suorum  incendia  superare. 
Per  Christum  Dominum  nostrum. '■'■'■ 

Campo  THE  CAMPO  VEBANO,   the   cemetery   of   Rome,    lies 

Santo.  over  the  site  of  the  crypts  of  Cyriaca.  It  dates  from 
the  first  French  occupation  of  the  city,  and  was  con- 
secrated in  1837,  though  much  enlarged  since.  Ves- 
pignani  designed  the  gate  and  Doric  portico,  and  the 
church  in  its  centre.  Over  the  entrance  are  inscribed 
the  words  from  the  second  book  of  Maccabees,  xii.  46  : 
"  It  is  therefore  a  holy  and  wholesome  thought  to  pray 
for  the  dead,  that  they  may  be  loosed  from  sins  ";  and 
on  the  other  side  the  verses  i  Cor.  xv.  52,  53.  Apocal. 
xiv.  13. 
This  great  cemetery  is   being  enlarged   every  day 

*  ' '  Grant  us  power  we  beseech  thee  O  Lord  to  extinguish  the 
flame  of  our  passions,  who  didst  make  blessed  Laurence  to  over- 
come the  fire  of  his  torments." 


MAJOR  BASILICAS  151 

and  contains  many  fine  monuments.  The  form  pre- 
ferred is  that  of  a  small  oratory,  which  as  the  cuhiculum 
memoricB  is  a  custom  of  very  high  antiquity.*  A  chair 
or  a  prie-dieu  in  these  little  chambers  expresses  that 
sense  of  remembrance  of  the  dead,  which  never  leaves  us 
in  this  garden.  The  chief  monuments  are  in  the 
Portico,  and  on  the  so-called  "  Pincetto,"  up  the 
steps.  Behind  the  church  are  the  graves  of  the 
poor.  From  November  i  until  November  12  there 
may  be  seen  an  endless  stream  of  carriages  on  the 
road  which  leads  to  Campo  Verano,  often  filled  with 
wreaths.  Even  the  poor  hire  cabs  to  convey  them- 
selves and  their  flowers  to  the  cemetery.  Here  the 
mourners  visit  their  dead,  and  hear  Mass  in  the  chapel 
or  in  the  basilica.  The  poor  light  the  little  lamps 
which  hang  by  the  simple  graves  in  the  large  field 
behind  the  church,  the  effect  of  which  as  can  be 
imagined  is  charming. 

BASILICA  OF  SANTA  AGNESE.— A  group  of  Christian 
edifices  anciently  rose  over  the  Cemetery  of  S.  Agnese, 
of  which  to-day  the  ruins  alone  remain,  except  in  the 
case  of  the  Mausoleum  of  Costanza  and  the  BasiHca 
of  S.  Agnese. 

This  beautiful  little  basilica  at  the  second  mile  of 
the  Via  Nomentana,  preserves  for  the  most  part  its 
early  Christian  character,  and  has  retained  almost 
unchanged  its  original  arrangement  and  form. 

A  famous  acrostic  epigraph,  to  be  read  in  the  ancient 
codices,  lauds  the  founder,  who  is  there  called  Con- 
stantina ;  and  the  Liber  Pontificalis  calls  her  the 
daughter  of  Constantine.f  The  initial  letters  of  the 
acrostic  iorm  Constantina  Deo. 

*  See  Catacombs,  p.  367,  and  Chapels,  p.  380. 

t  "Fecit  .  .  .  basilicam  beatse  Agnetis  Martyris  ex  rogatu 
Constantinae  filiae  suae."  She  is  variously  regarded  as  sister, 
daughter,  or  niece  of  the  Emperor ;  perhaps  the  last,  if  it  is  really 
to  her  we  owe  the  basilica.  It  may  be  noted  that  Agnes  and 
Laurence  were  venerated   in   Rome  immediately  after  the  two 


152       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

During  the  Arian  persecutions  Liberius  took  refuge 
here,  as  Boniface  did  later  at  S.  Fehcita.  "  Liberius 
hved  in  the  cemetery  of  blessed  Agnes  by  Constantine's 
sister,  Constantia  Augusta."  The  church  thus  founded, 
according  to  tradition,  at  the  Constantinian  period, 
A.D,  324,  was  enlarged  by  Pope  Symmachus  a.d.  498- 
514,  and  since  then  its  main  form  remains  unchanged, 
though  Honorius  I.  also  worked  on  the  basilica  (630). 
The  church  was  altered  in  1490  by  Innocent  VIII. 
Pius  IX.  thoroughly  repaired  it  (1856),  and  it  is  now 
one  of  the  most  exquisite  in  or  near  Rome.  To  him 
is  due  the  present  marble  pavement. 

The  basilica  was  constructed  at  the  level  of  the  martyr's 
totnb  in  order  that  this  might  not  be  violated,  and  lies 
therefore  below  the  level  of  the  road,  being  approached 
by  a  wide  flight  of  steps. 
The  On  the  side  walls  of  this  staircase  are  arranged  loculi 

Steps.  epitaphs  found  in  the  cemetery  beneath  ;  these  were 
placed  here  in  the  time  of  Benedict  XIII.,  having  "  in 
the  centuries  of  barbarism"  paved  the  floor  of  the  basiHca! 
De  Rossi  added  many  others  from  the  pavement  of 
S.  Costanza.  The  series  includes  inscriptions  from  the 
origin  of  Christianity  to  the  xiii.  and  xiv.  centuries, 
and  appertains  to  all  classes  of  the  Christian  society, 
so  that  we  may  gain  from  it  an  idea  of  Christian  paleo- 
graphy, epigraphy,  and  symbolism.  Many  epitaphs 
come  from  the  upper  area  and  basilica. 

A  III.  century,  and  perhaps  a  very  early,  one  has : 


ANeHPfi     KAI     lOYAIA 


;i; 


ANTHERUS  AND  JDLIA. 


Apostles,  and  that  to  Constantine  are  attributed  4  basilicas  in  the 
first  days  of  the  peace — those  of  SS.  Peter,  Paul,  Agnes,  and 
Laurence. 


MAJOR  BASILICAS  153 

Another  in  very  badly  formed  letters  is : 

.    .    .   CKATOLICA   .    .    . 
.    .    .    MACHEDONI    .    .    . 

Chatolica  Machedoni* 
Another  : 

AIONYCIA  CEMXH  CYNBIo)  MNIAS  XAPIN. 

[Dionisia  Semne  coniugi  memories  gratia.)     "  To  the  dear  memory 
of  my  wife  {companion)  Dionysia  Semne." 

FELICITATI 
FILI^  VIRG 
BENEMERE 
ENTQUIVIVANN  .  XI   .  FIC  .  PARENT. 

Felicitati  filise  virgin!  benemerenti  qui.  viv.  ann.  xi. 
fecerunt  parentes. 

Another : 


MEM  E   a  \N  Tl-   F  f   C  1  T 


VC)    ¥i 


with  the  Constantinian  monogram,  2  birds,  and  the 
flowering  palm.  {He  made  it  to  his  well  deserving  wife 
Hermione.)     It  is  iv.  century. 

The  following,   of  antique  diction,  belongs  to  the 
subterranean  cemetery : 

THrATKITATH  MOT 

eUFATPI      BIKTwPIOM 

HCYXIS. 

T^  yXi/kittott;  ixov  dvyarpl  BiKTUfKOfi.      Eavxi-s- 

To  my  beloved  daughter  Victoria,  Hesychius  (made  it). 

*  An  early  use  of  the  word  Catholic. 


154       CHRISTIAN  AND  ECCLESIASTICAL  ROME 
A  III.  century  inscription  found  near  the  basilica  is : 

AUR  .  AGAPETILLA. 
ANCILLA    DEI    QUE 
DORMIT    IN    PACE 
VIXIT    ANNIS   XXI 

MENSES  iii.     DIES  iiii. 

PATER   FECIT. 

To  the  Handmaid  of  God  Aurelia  Agapetilla,  who  sleeps  in  peace. 
She  lived  21  years,  3  months,  4  days.     Her  father  made  it. 

On  an  oblong  stone  occurs  a  bare  equilateral  cross, 
so  rare  a  sign  on  the  loculi : 


+ 


The  series  of  Christian  names  which  occur  here  are 
given  in  the  account  of  the  cemetery  of  S.  Agnese 
(Chap.  X.). 
The  tran-  The  late  French  Cardinal  Lavigerie,  the  determined 
senna.  opponent  of  African  slavery,  who  was  titular  of 
S.  Agnese,  ordered  a  restoration  of  this  staircase,  which 
is  built  into  the  hill  under  which  the  sotterranea  extend. 
Among  inscriptions,  bas-reliefs,  and  marbles,  he  found 
the  front  part  of  the  pectoral  transenna,  or  low  marble 
chancel  rails,  which  surrounded  the  presbytery,  on 
which  the  figure  of  Agnes  as  an  orante  is  represented. 
It  is  now  affixed  to  the  wall  with  the  inscriptions,  and 
is  unique  as  a  iv.  century  representation  of  her  in 
marble.  The  name  can  no  longer  be  traced.  On  the 
wall  opposite,  near  the  door  (right),  is  the  Damasine 
metrical  inscription  in  her  honour,  perfectly  preserved. 
This  staircase,  of  45  marble  steps,  which  was  recon- 
structed by  Cardinal  Verallo,  leads  into  an  interior 
vestibule  which  opened  on  the  primitive  atrium.  We 
now  enter  the  church  from  the  end  of  the  right  aisle. 
The  The   basiUca  consists  of  a  nave  and  aisles,  with   16 

basilica,  ancient  Corinthian  columns :  two  of  these  are  of  the 
rare  portasanta  marble,  ten  of  Serravezza  breccia,  and  two 
of  pavonazzetto.     Over  this  is  a  range  of  similar  smaller 


MAJOR  BASILICAS  155 

columns,  enclosing  a  gallery  which  extends  completely 
round  the  3  sides  of  the  church  (excluding  the  tribune), 
and  has  its  separate  entrance  on  to  the  Via  Nomentana. 
This  was  a  matronaeum,  or  part  of  the  church  destined 
for  the  women  only. 

The  apse  was   decorated   with    mosaic   in   the   vi.  Mosaics 
century,  under  Honorius  I.,  and  represents  S.  Agnes  of  the 
between  Popes  Symmachus  and  Honorius;  these  have  ^P^^' 
been   restored.      Agnes    is    dressed   as   a    Byzantine 
empress,  her  robe  jewelled,  a  mitella  on  her  head,  and 
the  inscription  sca.  agnes.     The  pontiff  to  the  right 
offers  her  the  church  which  he  holds  in  his  hand ;  both 
wear  the  striped  tunic,  chasuble,  and  pallium,  and  the 
head  tonsured.     Some  lines,  below,  of  barbarous  dic- 
tion record  the  restorations  made  by  these  two  popes. 
The,  fresco  is  by  Gaghardi. 

The  altar,  as  in  all  the  old  churches,  is  on  a  raised 
platform,  hut  it  faces  towards  the  episcopal  chair. 

The  tribune  is  approached  by  two  flights  of  steps. 
The  martyr's  body  lies  beneath,  under  the  rich  taber- 
nacle erected  by  Paul  V.  (16 14),  supported  on  4  por- 
phyry columns.  On  the  altar  is  a  statue  of  her,  the 
torso  of  which  is  ancient,  in  Oriental  alabaster ;  the 
head  and  hands  in  bronze  gilt  were  added.  The  relics 
were  seen  in  1605,  and  then  re-enclosed  in  a  silver 
coffer. 

By  the  high  altar  is  an  antique  marble  candelabrum, 
brought  from  the  cemetery. 

On  the  right,  after  the  staircase  which  leads  to  the  The 
gallery,  are  3  chapels  :  (i)  S.  Jerome  ;  (2)  SS.  Stephen  chapels, 
and  Laurence,  with  a  xv.  century  bas-relief  and  a  fine 
inlaid  altar  ;  (3)  S.  Emerentiana. 

On  the  left,  extreme  (vestibule)  end,  is  the  sacristy, 
which  probably  served  anciently  as  the  baptistery. 
The  entrance  to  the  cemetery  comes  next,  and  then 
3  chapels,  the  centre  that  of  the  Blessed  Sacrament, 
with  an  old  fresco  of  the  Blessed  Virgin  and  Child. 

The  Acts  of  S.  Agnes  and  of  other  martyrs  used  to 
adorn  the  walls  of  the  basilica,  the  work  of  xiii.  and 


Exterior. 


The 

Canoni- 

cato. 


156       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

XIV.  century  artists.  Mr.  E.  Stevenson  found  a  descrip- 
tion of  these  in  the  Bibliotheca  Pontiana  of  Naples.  To- 
day, between  the  windows,  are  paintings  of  the  virgin 
martyrs. 

As  we  enter  by  the  gateway,  there  is  a  building 
with  glass  doors  on  the  right  of  the  courtyard.  A 
painting  within  represents  an  accident  to  Pius  IX. 
and  those  with  him,  which  took  place  on  April  15,  1855. 
The  floor  of  a  room  gave  way,  and  the  Pope  fell  into 
a  cellar  below,  but  was  unhurt.  The  building  on  the 
right  of  the  gate  is  the  Canonicato,  or  Canon's  house. 
On  the  first  floor  are  some  now  ruinous  frescoes  of 
1454,  with  an  Annunciation.  They  were  drawn  by 
Seroux  d'Agincourt.  Recently,  other  frescoes  have 
been  found  representing  the  Crucifixion. 

From  the  ly.  century  consecrated  virgins  lived  near 
the  cemetery  of  S.  Agnese ;  and  their  inscriptions  have 
been  found  on  the  site. 

The  basilica  is  at  present  served  by  the  Canons 
Regular  of  the  Lateran. 

Ceremony  On  the  martyr's  feast  day  January  21,  the  ceremony 
of  blessing  of  blessing  2  lambs  takes  place.*  These  lambs  are 
lambs.  p^j^j  yearly  by  the  basilica  to  the  Lateran  canons,  who 
present  them  to  the  Pope.  They  are  afterwards  kept 
by  the  nuns  of  the  monastery  of  S.  Cecilia,  who  tend 
and  feed  them  till  the  octave  of  Easter,  after  which 
they  make  their  wool  into  the  archiepiscopal /a/Zwi  "da 
consecrare  il  papa  e  li  archiepiscopi." 

A  document  in  the  archives  of  S.  Pietro  in  Vincoli, 
dated  1550,  states  that  on  January  21  the  frati  of  that 
church  gave  the  solito  censo  (usual  tax)  of  2  lambs  to 
the  White  Canons  of  S.  John  Lateran.  In  the  same 
document  the  origin  of  the  tribute  is  said  to  be  that 
Constantia  dowered  the  basilica  and  monastery  of 
S.  Agnes  with  many  privileges,  and  as  it  was  in  feud 
to  la  prima  Chiesa  del  Mondo  (S.  John  Lateran),  it  paid 
in  recognition  of  this  2  lambs  yearly  to  the  chapter 
of  the  basilica. 

*  Agnes,  Agnus,  a  lamb. 


MAJOR  BASILICAS  157 

Immediately  the  celebrant  has  finished  mass,  the 
two  lambs  are  carried  from  the  sacristy  to  the  high 
altar,  tied  with  coloured  silk  ribbons  in  baskets,  and 
are  blessed  with  holy  water  and  incense.  Then  they 
are  carried  up  the  staircase  and  borne  away  to  S. 
Cecilia  in  Trastevere. 

As   we   leave    the    city   gate   on   our   way   to   the  New 
basilica,  immediately  to  the  right  is  a  newly  erected  church 
church  belonging  to  the  nuns  of  the  Perpetual  Adora-  '^,\^^ 
tion,  founded   by   the   Belgian,   Madame   de    Meuss.  patrizi. 
These  nuns  provide  poor  churches  with  the  necessary 
furniture.     This  church  is  on  the  site  of  the  aticient 
basilica  of  S.  Nicomede,  visited  by  pilgrims  in  the  vi. 
and  VII.  centuries,  and  built  perhaps  in  the  iv." 

Feast  day. — January  21. 

(For  S.  Agnes,  see  p.  165.) 

8.  COSTANZA,  near  the  basilica  of  S.  Agnes  and  at 
the  extreme  end  of  the  cemetery  which  runs  beneath, 
has  long  been  believed  to  be  a  temple  of  Bacchus.  It 
is  a  beautiful  circular  building,  73  feet  across,  with 
doubled  columns  supporting  a  dome.  Outside  the 
columns  is  a  circular  aisle  decorated  with  splendid 
mosaics,  representing  scenes  from  the  vintage,  birds, 
and  genii.  These  are  of  the  iv.  century,  among  the 
earUest  in  Rome.  The  sheep  and  the  pail  of  milk 
should  be  specially  noticed,  as  some  of  the  most 
ancient  of  all  Christian  symbols.  S.  Costanza  is  now 
known  to  have  been  built  as  the  mausoleum  of  Con- 
stantine's  two  kinswomen,  Constantia  and  Helena.! 
P.  Garrucci  found  in  the  library  of  the  Escurial  the 
designs  for  the  mosaics  of  the  cupola,  destroyed  in 
the  XV.  century.  These  included  scenes  from  the 
book   of    Genesis,   with   the   sacrifice   of  Abel — and 

•  See  Chap.  II. 

t  A  lady  named  Constantina  is  called  the  founder  of  the 
basilica  of  S.  Agnes,  and  is  identified  by  the  Lib.  Pont,  with  the 
Emperor's  daughter. 


158       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

some  fishing  scenes.  In  the  principal  recess  in  the 
building  figured  the  Constantinian  monogram.  The 
large  red  porphyry  sarcophagus,  now  in  the  Vatican 
Museo  Pio-Clementitw,  comes  from  this  building,  and  a 
painting  representing  it  has  been  placed  in  situ.  At 
the  Vatican  it  stands  opposite  the  twin  sarcophagus  of 
the  Empress  Helena,  brought  from  her  mausoleum  at 
Tor  Pignattara.  Both  are  of  the  fine  Roman  work  of 
Constantine's  time.  The  rude  mosaics  in  the  minor 
apses,  representing  the  Almighty  giving  the  Law  to 
Moses,  and  Christ  giving  the  Law  to  Peter,  with  the 
accompanying  festoons,  are  perhaps  as  late  as  the 
VIII.  century.  The  columns  are  from  ancient  build- 
ings, and  have  rich  capitals. 

S.  Costanza  was  consecrated  as  a  church  by 
Alexander  IV.  (1254-1261). 

Feast  day. — -February  25. 

coNSTANTiA  the  daughter  of  Constantine,  was  married 
to  Aniballianus,  and  secondly  to  Gallus  Caesar.  A. 
Marcellinus  describes  the  latter  princess  as  wicked  :  it 
is  from  the  Acts  of  S.  Agnes  that  we  hear  of  her  as  a 
saintly  virgin  consecrated  to  God.  As  such,  she  has 
been  honoured  from  the  xiii.  century,  when  the 
church  was  dedicated  to  her.  It  appears  probable 
that  a  really  holy  woman  called  Constantina  founded 
the  basilica  as  the  inscription  informs  us,  and  that  her 
fame  was  in  later  times  transferred  to  the  unworthy 
daughter  of  Constantine  ;'■'  others  assert  that  this  Con- 
stantia  was  niece  to  the  Emperor,  and  lived  privately 
in  this  imperial  retreat. 

*  Bottari.     Duchesne,  Liber  Pont.,  note  80. 


CHAPTER  VIII. 

The  Churches  in  Rome — Their  titular  saints — Emblems  of  the  saints  in 
art — Shrines  and  rooms  of  saints — The  Ghetto  and  Trastevere. 

There  are  352  churches  chapels  and  oratories  in 
Rome,  including  the  4  great  basilicas  outside  the 
walls.  52  of  these  are  parish  churches,  24  being  ad- 
ministered by  secular,  and  28  by  regular  clergy.  Of 
the  remaining  300  churches,  about  68=''  are  monastic, 
while  22  are  attached  to  different  seminaries  for  the 
education  of  boys  for  the  priesthood.  The  other  200 
consist  of  those  ancient  titles  no  longer  reckoned  among 
parish  churches,  foundations  due  to  the  old  guilds  or 
to  private  initiative,  the  national  churches,  and  those 
built  by  the  many  religious  congregations  which  have 
arisen  since  the  xvi.  century. 

The  national  churches,  which  were  in  the  first 
instance  attached  to  hospices  for  foreign  pilgrims,  are 
in  some  cases  very  ancient  foundations.  Among  the 
earliest  was  the  hospice  and  church  of  the  Anglo- 
Saxons,  f 

The  following  are  the  national  churches  still  in 
existence  : 

Of  the  French  :  S.  Luigi  dei  Francesi.  National 

Germans :  S.  Maria  dell'  Anima.  churches. 

Spanish:  S.  Maria  di  Monserrato. 

Portuguese:  S.  Antonio  dei  Portoghesi. 

Belgians :  S.  Giuliano  dei  Fiamminghi. 

Poles :  S.  Stanislao  de'  Polacchi. 

Slavs :  S.  Girolamo  degU  Schiavoni. 


*  26  of  these  are  convents  of  women,  42  of  men. 
t  See  p.  63. 


i6o       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Parochial 
churches. 


Secular 

parish 

churches. 


Of  the  Armenians :  S.  Biagio  in  Via  Giulia. 

Abyssinians:  S.  Stefano  degl' Abissini. 
,,  Neapolitans:  S.  Spirito  dei  Napolitani. 
,,      Sicilians:  S.  Maria  di  Costantinopoli. 

Lombards:  S.  Carlo  al  Corso. 

Bolognese:  SS.  Petronio  e  Giovanni. 

Genoese:  S.  Giovanni  dei  Genovesi. 

Florentines:  S.  Giovanni  dei  Fiorentini. 
„      Calabresi :  S.  Francesco  di  Paola. 
,,      Bergamese  :  S.  Maria  della  Pieta,  Piazza  Colonna. 

Lucchesi :  S.  Croce  e  Bonaventura. 
,,  Siennese  :  S.  Caterina  in  Via  Giulia. 
,,      Camerinesi :  S.  Venanzio. 

Savoyards  and  Piedmontese :  SS.  Sudario. 
,,      Burgundians:  S.  Claudio. 

Lorrainese:  S.  Niccolo  in  Agone. 

Bretons :  S.  Ivo. 

The  parish  churches  of  Rome  are  of  two  kinds — 
secular  and  regular.  The  secular  are  administered  by 
secular  clergy,  with  the  parish  priest''-  (curato)  at  their 
head;  the  regular  by  "regulars"  of  religious  orders, 
one  member  of  which,  not  the  superior,  is  appointed 
Padre  curato.  The  following  is  the  list  of  the  parishes 
in  Rome  administered  by  secular  clergy,  twenty-five 
in  number : 

SS.  Celso  e  Giuliano. 
S.  Tommaso  in  Parione. 
S.  Giovanni  dei  Fiorentini. 
S.  Caterina  della  Rota. 
S.  Maria  dei  Monti. 
S.  Giacomo  in  Augusta. 
S.  Rocco. 

S.  Salvatore  in  Lauro. 
S.  Lucia  del  Gonfalone. 
S.  Spirito  in  Sassia. 
SS.  Vitale,  GervasioeProtasio. 
S.    Maria  della  Divina  Prov- 
videnza,  al  Testaccio. 


The  Apostolic  Palaces. 

S.  John  Lateran. 

S.  Peter's. 

S.  Maria  Maggiore. 

S.  Lorenzo  in  Damaso. 

S.  Maria  in  Trastevere. 

S.  Maria  in  Cosmedin. 

S.  Marco. 

S.  Eustachio. 

S.  Nicola  in  Carcere. 

S.  Maria  in  Via  Lata. 

S.  Angelo  in  Pescheria. 

S.  Eusebio. 


*  The  parish  priests  of  Rome  receive  a  stipend,  called  their 
congrua,  of  3,000  lire  a  year.  Besides  this,  they  have  what 
Italians  call  the  stola  bianca  and  the  siola  nera,  i.e.,  the  sums  paid 
for  baptisms  and  marriages,  and  for  burials.  For  the  first  of 
these  there  is  no  charge  fixed,  and  the  amounts  given  in  the 
other  cases  much  depend  on  the  means  and  will  of  the  families 
concerned.  There  are  still,  however,  in  Italy  some  1,300  parishes 
where  the  priest  receives  less  than  800  francs  a  year. 


THE  CHURCHES  IN  ROME 


i6i 


The  following  are  secular  suburban  parishes  : 
S.  Maria  del  Carmine  e  S.  Giuseppe. 
SS.  Marcellino  e  Pietro  a  Torre  Pignattara. 


Suburban 

secular 

churches. 


The  following  is  the  list  of  the  regular  parish  churches 
of  Rome,  24  in  number  : 

S.  Lorenzo  in  Lucina,  administered  by  Minor  Observants  (Fran-  Regular 

Servites.  ciscans).  parishes 


S.  Marcello, 

S.  Maria  in  Via, 

SS.  XII.  Apostoli, 

S.  Martino  ai  Monti, 

S.  Maria  sopra  Minerva, 

S.  Bartolomeo  all'  Isola, 

S.  Crisogono, 

S.  Agostino, 

SS.  Quirico  e  Giulitta, 

S.  Maria  del  Popolo, 

S.  Maria  in  Campitelli, 

S  Maria  Traspontina, 
SS.  Vincenzo  ed  Anastasio 
a  Trevi, 

S.  Maria  in  Aquiro, 
S.  Andrea  delle  Fratte, 
S.  Carlo  a  Catinari, 
S.  Maria  in  Monticelli, 
S.  Salvatore  della  Corte, 
S.  Dorotea, 

S.  Bernardo  alle  Terme, 
S.  Maria  Maddalena, 

SS.  Cosma  e  Damiano, 

SS.  Cuore  di  Gesu  al  Castro 
Pretorio, 


,,  Servites. 

,,  Minor  Conventuals. 

,,  Carmelites. 

,,  Dominicans. 

,,  Minor  Observants. 

,,  Discalced  Trinitarians. 

,,  Augustinians. 

,,  Dominicans. 

,,  Augustinians. 

,,  Clerks   Regular  of    the 

Mother  of  God. 
,,  Carmelites. 

,,  Clerks  Regular  of  the 
Ministersof  the  Infirm. 

,,  Somaschi  Fathers. 

,,  Minimites. 

,,  Bamabites. 

,,  Doctrinarians 

,,  Minimites. 

,,  Minor  Conventuals. 

,,  Cistercians. 

,,  Clerks  Regular  of  the 
Ministersof  the  Infirm. 

,,  Fathers  of  the  Third 
Order  of  S.  Francis. 

,.  Salesians. 


Suburban    churches  with    regular    clergy    are    as  Suburban 

follows  :  regular 
S.  Paolo  Fuori,  administered  by  Benedictines  of  Monte  Cassino.  P^"^ 

S.  Lorenzo  Fuori,         ,,  ,,    Minor  Capuchins. 

S.  Agnese  Fuori,           ,,  ,,   Canons  Regular  of  the  Lateran. 

S.  Sebastiano  Fuori,    ,,  ,,   Minor  Observants. 
S.  Francesco  a 

Monte  Mario,*           ,,  ,,   Jeromites. 

S.  Maria  del  Rosario,  „  ,,    Dominicans. 

S.Maria  alle  Fornaci,  ,,  ,,   Discalced  Trinitarians. 

•  S.  Onofrio  in  Campagna. 


i62       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

S.  ABBIANO^i'  in  the  Roman  Forum  was  also  known  as 
S.  Adriano  in  tribiis  foris  like  many  churches  in  this 
area,  from  its  position  upon  the  limits  of  the  three  fora 
of  Caesar  Augustus  and  Rome.  It  was  built,  says 
the  Liber  PontificaHs,  by  Pope  Honorius  I.  (625-640). 
The  original  building  was  no  doubt  at  a  lower  level — 
at  that  of  the  Forum  itself.  A  fragment  of  a  column 
from  this  church  has  been  preserved  in  the  Lateran 
museum,  bearing  an  inscription  to  the  effect  that  those 
attempting  to  injure  the  church  of  S.  Adriano  will  be 
anathema.  In  121 3  the  relics  of  SS.  Nereus  and 
Achilleus  were  removed  to  this  church,  which  was 
completely  restored  by  Gregory  IX.  in  1228.  This 
restoration  is  recorded  in  an  inscription,  and  another 
states  that  at  the  same  time  the  relics  of  SS.  Marius, 
Martha  and  Adrian,  and  of  the  "Three  Children," 
were  discovered.  Adrian  I.  converted  the  church  into 
a  diaconate  and  presented  to  it  rich  gifts,  vineyards, 
and  olive  gardens.  Being  deserted,  it  was  transferred 
to  the  Spanish  "  Fathers  of  the  Order  of  Mercy"  in 
1589,  and  the  church  was  in  such  a  state  of  neglect  at 
this  time  that  grass  grew  among  its  paving-stones. 
S.  Adriano  is  still  in  the  hands  of  the  Spanish  Fathers 
of  Mercy.  Its  interior  is  plain  and  bare.  It  contains 
some  pavement-tombs  of  members  of  the  order.  It  is 
seldom  open. 

Feast  day. — September  8. 

8.  ADKiAH  was  a  noble  Roman  youth,  son  of  Probus, 
and  the  husband  of  a  beautiful  woman  Natalia,  who 
was  secretly  a  Christian.  He  served  under  the  Emperor 
Galerius  Maximian  in  the  persecutions  of  the  Christians 
in  Nicomedia  in  290.  On  one  occasion  it  was  his  duty 
to  superintend  the  torture  of  thirty-four  victims,  and 
suddenly  touched  by  their  heroism  and  constancy, 
Adrian  threw  away  his  arms  and  called  aloud  that  he 

*  In  describing  interiors  of  churches  the  follomng  order  is 
observed :  i.  Chapels  of  right  (facing  high  altar)  aisle.  2.  Tribune, 
transepts,  etc.  3.  Chapels  of  left  aisle  in  returning  order,  4th, 
3rd,  2nd,  etc. 


THE  CHURCHES  IN  ROME  163 

too  would  be  a  Christian.  Thrown  into  prison,  and 
subjected  to  various  persecutions,  he  was  sustained 
and  encouraged  by  his  wife,  Adrian  was  sentenced  to 
have  his  Hmbs  smitten  off  on  an  anvil,  and  during  this 
.torture  Natalia  held  and  comforted  him  until  he  died 
in  her  arms.  Natalia  fled  to  Constantinople,  and  soon 
after  died.  S.  Adrian  is  represented  in  art  as  a  Roman 
soldier,  with  an  anvil  at  his  feet  or  in  his  hand ;  some- 
times a  lion  is  beside  him  as  an  emblem  of  fortitude. 

S.  AGNESE  in    Piazza    Navona  (Circo  Agonale)    on 
the  site  of  the  Stadium  of  Domitian.     This  church  is 
built  on  the  traditional  site  where  the  martyr  S.  Agnes 
was  exposed,  and  the  tradition  agrees  well  with  what 
we  know  of  the  ancient  topography  of  Rome.     This  Ancient 
was   the   IX.   Flaminian  region   of  the   city,   and   in  topo- 
A.D.  64  Nero  had  increased  the  great  baths  of  Agrippa  S^apny. 
(Pantheon)  towards  the  west.     They  were  again  ex- 
tended by  Alexander  Severus  (222-235)  ^^  ^^^  ^^  the 
present  Piazza  Navona.     Tacitus  says  that  Nero  also 
built  a  gymnasium.     It  is  certain  that  Domitian  trans- 
formed this  gymnasium  into  a  stadium  a  few  years  later. 

Remains  of  the  stadium  have  been  found  in  the  crypt  The  Sta- 
of  this  church  and  beneath  the-^adjacent  houses,  and  dium. 
the  topography  is  rendered  clearer  by  the  retention  of 
the  name  agone  (a  place  for  public  games)  for  this  piazza. 

That  the  stadium  of  Domitian  was  in  fact  situated 
here,  adds  force  to  the  story  preserved  in  the  martyr- 
ologies.  It  is  known  that  lupanaria  were  to  be  found 
round  the  stadia.  When  Severus  increased  the  baths 
he  restored  this  stadium,'"  which  would  therefore  have 
begun  to  take  its  part  in  the  popular  life  of  the  Romans 
a  few  years  before  Agnes's  torment  and  death. 

S.  Agnese  in  Agone,  as  it  was  anciently  styled,  or  The  old 
oratorio  in  Cryptis  Agonis,  v,'a.s  originally  a  small  oratory  church, 
probably  occupying  the  site  of  the  present  sacristy. 
It  is  alluded  to  in  a  Bull  of  Urban  II.  (1088).     Cal- 

•  It  has  been  therefore  known  also  as  Stadium  Alexandrinum, 
Alexander's  Stadium. 

II — 2 


The 
present 
church 
(exterior). 


The 
obeHsk. 


Interior. 


164       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

listus  II.  amplified  it,  and  dedicated  it  in  1123.  The 
front  was  then  on  the  opposite  side,  the  old  "  Via  di 
S.  Agnese,"  with  a  small  door  on  the  Piazza  Navona. 
The  church  was  affiliated  to  S.  Lorenzo  in  Damaso. 
In  the  XIV.  century  it  was  a  parish  church,  and  here  . 
in  1384  was  baptized  Francesca  Bussa  afterwards 
S.  Francesca  Romana,  whose  paternal  house  was 
opposite  the  church. 

The  present  building  is  in  the  form  of  a  Greek  cross, 
and  was  rebuilt  in  1642  by  the  Pamfili  family,  losing 
then  its  original  form.  The  late  Prince  Doria  Pamfili 
restored  it.  It  is  considered  to  be  the  best  work  of  its 
architect  Rainaldi.  The  fa9ade  and  cupola  are  the 
work  of  Borromini ;  and  there  is  an  amusing  story  told 
of  him  and  the  sculptor  Bernini,  who  was  engaged  on 
the  fountain  in  front  of  the  church.  Bernini  has  made 
the  figure  nearest  Borromini's  cupola  hold  up  his  hand 
as  if  to  ward  off"  a  prospective  crash,  or  to  hide  the 
unsightly  thing  from  view.  It  is  said  that  when  Borro- 
mini saw  it,  it  gave  him  an  illness,  and  he  never  got 
over  his  mortification. 

The  obelisk  which  now  faces  the  church  was  placed 
there  by  Innocent  X.,  who  brought  it  from  the  Circus 
of  Maximus  on  the  Via  Appia.  It  is  not  one  of  the 
Egyptian  trophies  imported  by  the  emperors,  but  is 
an  imitation  column  worked  in  Rome.  It  stood 
originally  in  the  Flavian  Emperor  Domitian's  villa  at 
Albano.  It  was  this  Emperor's  Christian  descendant 
Constantine,  who  founded  the  basilica  of  S.  Agnes  on 
the  Nomentana,  and  by  an  odd  coincidence  this  Flavian 
obelisk  has  found  its  way  to  the  Flavian  stadium  to 
honour  the  same  martyr. 

On  entering  the  church  we  read  in  large  letters 
round  the  dome  :  "  Ingressa  Agnes  turpitudinis  locum 
Angelum  Domini  praeparatum  invenit." — "When  Agnes 
came  into  the  place  of  shame,  she  found  the  angel  of 
the  Lord  whom  He  had  prepared." 

The  painting  of  the  dome  is  by  Ciro  Ferri  and 
Corbellini,  the  lunettes  by  Baciccio.     The  church  is 


THE  CHURCHES  IN  ROME  165 

rich  with  marbles,  and  has  8  columns  of  red  cotanella. 
On  the  right  as  we  enter  is  a  bas-relief  represent- 
ing the  death  of  S.  Alexis  (p.  175)  by  Rossi;  next, 
forming  one  arm  of  the  cross,  is  the  chapel  of  S.  Agnes, 
the  statue  of  the  saint  by  Ferrata.  Next  to  this,  an 
alto-relievo,  representing  the  martyrdom  of  S.  Emeren- 
tiana,  is  also  by  Ercole  Ferrata.  The  large  rehef  over 
the  high  altar,  representing  the  Madonna  and  S.  Anna, 
is  by  Guidi.  On  the  other  side  of  this  is  the  mar- 
tyrdom of  S.  CeciHa  by  A.  Raggi,  Pope  Urban  I. 
being  represented  as  present  (p.  212).  The  arm  of 
the  cross  corresponding  to  the  chapel  of  S.  Agnese 
forms  that  of  S.  Sebastian,  with  a  statue  of  the  martyr 
by  Paolo  Campi.  The  alto-relievo  next  to  this,  and 
near  the  entrance,  is  by  Ferrata  and  Caffa,  and  re- 
presents S.  Eustachius  in  the  amphitheatre  among  the 
wild  beasts.  Over  the  entrance  is  Maini's  monument 
to  the  Pamfili  pope.  Innocent  X.  A  door  near  the 
chapel  of  S.  Cecilia  leads  to  the  sepulchral  chapel  of 
Mary  Talbot,  Princess  Doria,  obiit  1857. 

Attached  to  the  church  is  the  Pamfili  College  and 
the  palace  erected  for  his  family  by  Innocent. 

The  sotterraneo  of  the  church — the  site  of  the  ex-  Thesot- 
posure  of  S.  Agnes — is  entered  from  the  door  to  the  terraneo. 
right  of  S.  Agnes's  chapel.     It  has  been  newly  decor- 
ated.    At  the  first  altar  a  marble  relief  represents  her 
as  shielded  by  her  hair. 

Feast  day. — January  21.* 

8.  AGNES  is  one  of  the  most  celebrated  martyrs  not  Story  of 
only  of  the  Roman,  but  of  the  Universal  Church.  S-  Agnes. 
She  is  placed  almost  with  the  Apostles,  and,  with 
S.  Laurence,  was  regarded  as  co-operating  with  them 
in  the  conversion  of  Rome.  The  conversion  of  the 
Roman  aristocracy  is  ascribed  to  her,  and  the  liturgical 
books  of  both  East  and  West  celebrate  her  glory. 
In  the  very  earliest  art  Agnes  is  portrayed  effigied 

*  About  3.30  p.m.  on  the  20th  and  21st  there  are  solemn 
vespers ;  and  High  Mass  on  the  feast  day.  The  sotterranea  are 
lighted  up. 


i66       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

with  the  Apostles,  and  with  S.  Laurence,  and  often 
appearing  as  the  principal  figure,  with  her  name  over 
her  head,  and  Peter  and  Paul  below  her.* 
Her  bio-         Agnes's  parents,  as  alleged,  wrote  the  account  of  her 
graphers.    passion ;  and  Prudentius,  visiting  the  Roman  catacombs 
at  the  end  of  the  iv.  or  beginning  of  the  v.  century, 
writes  her  story  in  verse.     In  the  iv.  century  Jerome 
tells  us  that  Agnes's  renown  was  spread  among  all 
nations,   hymns  and  homilies  having  been  composed 
in  all  tongues  in  her  honour.     Ambrose  speaks  of'  her 
with  great  veneration  ;  Martin  of  Tours  tells  her  story, 
and  so  does  Augustine. 
The  The  story  of   S.  Agnes   is   found  in  the  so-called 

"  Acta."  "  Ambrosian  Acts,"  which  have  been  erroneously  attri- 
buted to  Ambrose  of  Milan.  The  compiler  tells  us 
that  his  information  is  obtained  from  voluminous 
existing  sources,  and  the  probability  is  that  a  monk 
called  Ambrose  re- wrote  the  acts  in  the  vi.  century. 

The  "  Acts  of  the  Martyrs"  cannot  be  regarded  as 
authentic  or  primitive  in  the  form  in  which  they  have 
reached  us  ;  only  genuine  fragments  may  be  expected. 
Round  the  story  of  S.  Agnese  fresh  legends  have 
grown  up,  as  in  other  cases,  but  in  this  instance  we 
have  internal  evidence  of  the  genuineness  of  the  main 
record,  drawn  from  the  allusions  to  the  social  and 
political  circumstances  of  the  age. 

It  has  been  commonly  believed  that  her  story  was 
a  IV.  century  record  of  events  which  took  place  at 
the  end  of  the  in.,  in  the  persecution  of  Diocletian. 
It  is,  in  fact,  a  vi.  century  recension  of  events,  of 
which  a  contemporaneous  record  existed,  happening 
during  the  persecution  of  Valerian  (258), 

The  "Acts"  tell  us  that  the  name  of  the  Prefect 
under  whom  Agnes  suffered  was  Aspasius,  and  this 

*  Nothing  better  emphasises  the  important  place  occupied  in 
the  early  Christianising  of  Rome,  not  only  by  her  celebrated 
martyrs — for  Peter  and  Paul  were  such — but  by  her  women 
martyrs,  than  these  representations  :  not  only  do  we  find  the 
great  Agnes  so  portrayed,  but  S.  Pelegrina  appears  orante-wise 
as  the  central  figure,  and  the  Apostles  as  her  escort. 


THE  CHURCHES  IN  ROME  167 

is   the   name    of    the    Prefect   of    Rome   during    the 
Valerian  persecution,   a.d.   257-258.      She   was   mar- 
tyred, we  learn,  during  a  great  persecution  ;  and  the 
primitive  names  agellus  and  pradium,  are  used  for  her 
burial-place.     But   incidentally   these   names   tell   us  Her 
much  more  :  the  large  cemetery  on  the  Via  Nomen-  family 
tana,  venerable  to  Christians  from  the  earliest  times,  '^^•i"^. 
has  been  called  since  the  viii.  century  "  S.  Agnese." 
But  it  is  not  here  that  Agnes  lies,  but  in  the  smaller 
catacomb  close  at  hand.     There  must  have  been  some 
reason  for  this,  and  the  expressions  "  her  ground,"  "  her 
field,"  supply  the  clue.     The  term  agellus  commonly 
signifies  a  family  burial  place,  and  S.  Agnes  was  most 
probably  a  member  of  the  Gens  Claudia,  to  whom  this 
little  catacomb  has  been  shown  to  belong.     Her  own  Her  own 
name  is  found  variously  spelt  ;  Damasus  tells  us  her  name, 
name  was  AGNE.*     It  is  really  Greek  in  origin,  de- 
riving from  AFNH — Hague,  pure.     Ambrose  writes  : 
"As  it  seems  to  me,  it  was  not  the  name  of  men,  but 
rather  a  prophecy  of  martyrdom,  indicating  what  was 
to  be."     {Agnus,  lamb.) 

Before  her  martyrdom  Agnes  was  taken  to  a  place  Her  mar- 
of  shame.  We  know  that  this  brutal  punishment  was  tyrdom. 
in  use,  and  Tertullian  says  that  the  Christian  feared 
more  to  be  exposed  in  the  lupanaria,  than  to  the  wild 
beasts  in  the  amphitheatre.  But  when  Agnes  entered 
the  place  of  iniquity  "  the  angel  of  the  Lord  entered 
with  her ;"  and  when  she  was  exposed,  her  hair 
became  as  a  veil  and  covered  her:  After  this,  con- 
tinuing openly  and  without  fear  to  profess  herself  a 
Christian,  she  was  thrown  on  a  pile  of  lighted  faggots, 
and  then  killed  with  a  sword  :  "  looking  steadfastly  to 
heaven,  she  yielded  up  her  pure  spirit,  and  fell  bathed 
in  blood."  That  evening  a  procession  left  the  Porta 
Collina,  with  torches,  and  hymns ;  it  was  the 
Christians  bearing  the  martyr's  body  to  her  ground 
on  the  Via  Nomentana,  accompanied  by  her  parents, 
and  by  Emerentiana  her  faithful  foster-sister.  The 
*  See  Catacomb  Agnese,  Chap.  X. 


i68       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

"  Acts  "  tell  us  that  Agnes  had  been  sought  in  marriage 
by  a  Roman  youth,  the  son  of  the  Prefect  Aspasius, 
and  her  refusal  on  the  ground  that  she  had  conse- 
crated her  life  to  virginity,  led  to  her  martyrdom. 

Her  office.  The  matins  of  S.  Agnese,  like  those  of  S.  Laurence, 
do  not,  as  is  usual,  describe  her  history  and  death  :  in 
both  cases  it  seems  too  well  known  for  the  Roman 
Church  to  reiterate  it."  Instead,  we  have  lections 
from  S.  Ambrose's  book,  "  De  Virginibus,"  where  he 
speaks  of  Agnes  ;  and  the  responsaries  and.antiphons 
again  and  again  repeat  the  well  known  words  and 
phrases  of  her  story,  interchanged  with  apposite 
hymnody  from  the  sacred  Scriptures : — Blessed  Agnes 
stretched  forth  her  hands  in  the  midst  of  the  flames,  and 
prayed:  "  Almighty  adorable  worshipable  dread  Father, 
I  bless  Thee  because  by  Thy  holy  Son  I  have  escaped 
the  menaces  of  the  tyrant,  and  by  a  narrow  and  clean 
foot-track  have  passed  over  the  filthiness  of  the  flesh  : 
and  behold  I  come  to  Thee,  whom  I  have  loved,  whom 
I  have  sought,  whom  I  have  always  desired."  Rejoice 
together  with  me,  and  be  ye  glad,  since  I  have  received  seats 
of  light  with  all  these  blessed. 

Her  After  those  of  the  two  Apostles  no  festival  has  been 

memory,  kept  in  Rome  with  greater  solemnity  than  that  of 
S.  Agnes,  f 

In  art.  In  art  she  is  represented  as  quite  a  girl — she  is  said 

to  have  been  only  13  or  15 — and  she  carries  a  lamh, 
her  emblem,  and  the  palm  of  martyrdom.  She  is 
richly  dressed,  and  often  crowned. 

S.  AGATA  DEI  GOTI  in  Via  de'  Mazzarini  upon  the 
slopes  of  the  Quirinal  Hill.  In  the  vi.  century  this 
church  was  called  degli  Ariani,  "of  the  Arians."  It 
is  now  the  chapel  of  the  College  foj  Irish  Semin- 
arists. The  original  edifice  is  said  to  have  been 
founded  about  460  by  Ricimer  the  Goth,  who  certainly 

•  For  the  formation  of  the  Sanctoral  office,  see  Part  II., 
ch.  hi. 

t  Armelhni,  Cimitero  di  S.  Agnese. 


THE  CHURCHES  IN  ROME  169 

adorned  the  apse  with  mosaics,  which  with  Ricimer's 
inscription  "perished  barbarously"  when  the  church 
was  restored  in  1589.  A  painted  copy  is  preserved  in 
the  Vatican  Library.  When  Rome  was  occupied  by 
the  Goths,  they  possessed  themselves  of  S.  Agata  as 
their  national  church,  and  hence  the  name  "of  the 
Arians." 

In  593  Gregory  the  Great  restored  it  to  Catholic 
worship,  dedicating  it  to  S.  Agata,  In  the  viii. 
century  there  was  a  monastery  annexed,  which  under 
Alexander  VIII.  was  possessed  by  the  Benedictines 
of  Monte  Vergine. 

The  present  church  dates  from  1633.  Nothing 
remains  of  the  ancient  building.  The  aisles  are 
separated  from  the  nave  by  12  ancient  columns  of 
gray  granite  with  Ionic  capitals,  6  on  each  side.  The 
chapel  at  the  end  of  the  .right  aisle  is  dedicated  to 
S.  Agata.  The  monument  to  Daniel  O'Connell  who 
bequeathed  his  heart  to  this  church,  is  on  the  left  of 
the  principal  entrance  ;  it  was  executed  in  1856  by 
Benzoni.  The  bas-relief  represents  him  at  the  Bar  of 
the  House  of  Commons  refusing  to  sign  the  Declara- 
tion. 

To  the  right  is  the  monument  to  Lascaris,  the 
Greek  refugee,  who  fled  to  Italy  on  the  fall  of  Con- 
stantinople, and  thus  became  a  chief  means  of  the 
introduction  of  Greek  literature  into  \\'estern  Europe. 
There  is  also  a  monument  in  cinquecento  style  to  the 
Spanish  Cardinal,  Mario  y  Catalan. 

Feast  day. — February  5. 

8.  ASATHA  of  Catania  in  Sicily,  was  desired  for  her  s.  Agatha, 
beauty  by  Quintianus  the  Praetor,  who  delivered  her 
to  Aphrodisia  and  her  nine  abandoned  daughters  to 
make  her  compliant  to  his  will.  Aphrodisia  returning 
to  Quintianus,  told  him  that  the  sword  at  his  side 
should  sooner  become  like  liquid  lead  and  the  rocks 
flow  like  water  than  Agatha  be  moved. 

Quintianus  then  gave  her  the  choice  of  sacrificing  to 
the  gods  or  undergoing  torture.    Agatha  not  hesitating, 


I70       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

she  was  beaten  with  rods,  and  three  days  later,  being 
found  in  the  same  constancy,  her  breasts  were  torn 
from  her  bosom.  That  night  there  came  into  her 
dungeon  a  venerable  old  man,  and  placing  ointment 
on  her  sores,  restored  her  breasts.  Agatha  believed 
she  had  been  visited  and  healed  by  the  Apostle  Peter. 
She  was  then  ordered  to  be  burnt,  and  was  led  back  half 
dead  ;  when  praying  that  she  might  be  taken,  she  passed 
immediately  away.  The  event  takes  place  during  the 
persecution  of  Decius  (249). 

S.  Agatha  is  represented  with  a  dish  on  which  are 
placed  her  breasts,  and  with  the  martyr's  palm  ;  some- 
times she  bears  the  shears  used  in  her  torture.  Usually 
she  wears  a  long  veil,  in  allusion  to  the  legend  that  at 
the  eruption  of  Mount  Etna  a  year  after  her  martyr- 
dom. Christians  and  pagans  alike  took  her  silken  veil 
which  lay  upon  her  tomb,  ^.nd  went  forth  in  procession 
towards  the  molten  lake  of  fire,  and  "  it  pleased  God 
that  by  the  virtue  of  this  sacred  relic  the  fire  was 
turned  aside,  the  mountain  ceased  to  roar,  and  there 
was  calm." 

S.  AGOSTINO,  in  the  piazza  of  the  same  name,  is  the 
first  and  only  church  in  Rome  dedicated  to  the  great 
African  Bishop.  It  was  built  in  1483-84  at  the  expense 
of  Cardinal  d'Estouteville,  Ambassador  of  France, 
by  the  Florentine  architect  Baccio  Pintelli,  and  upon 
the  site  of  an  earlier  chapel  with  the  same  dedica- 
tion. 

The  church  is  in  the  form  of  a  Latin  cross,  and  was 
the  first  built  in  Rome  with  a  dome.  Its  fa9ade  con- 
sists of  travertine  taken  from  among  the  ruins  of  the 
Colosseum.  The  style  of  this  church  shows  traces  of 
Gothic  influence.  The  interior  consists  of  a  nave 
divided  from  the  aisles  by  5  piers  on  each  side,  faced 
with  coloured  marbles.  The  pointed  roof  is  of  the 
XV.  century.  On  the  third  pillar  to  the  left  is  the 
fresco  of  Isaiah  with  two  angels  holding  a  scroll,  by 
Raphael  (Isa.  xxvi.  2).     It  is  supposed  to  have  been 


THE  CHURCHES  IN  ROME  171 

painted  in  15 12,  when  he  was  much  influenced  by 
Michael  Angelo's  frescoes  in  the  Sistine,  Fifty  scudi, 
or  £10,  were  asked  by  Raphael  for  the  work,  and  this 
price,  says  Vasari,  was  thought  so  high  by  the  monks 
of  S.  Agostino  that  no  further  work  was  given  him. 
The  painting  has  been  rnuch  retouched  by  Volterra, 
and  injured  by  cleaning  under  Paul  IV. 

The  pilasters  are  decorated  with  subjects  from  the 
Scriptures,  and  from  the  lives  of  S.  Augustine  and 
S.  Monica.    On  the  roof  are  the  prophets,  by  Gagliardi. 

Chapels. — I.  on  right :  Here  is  a  S.  Catherine  by 
Venusti,  formerly  in  the  church  of  Loreto. 

II.  on  right :  A  copy  by  Nucci  of  the  lost  Madonna 
della  Rosa  by  Raphael. 

IV.  on  right :  Painting  of  Christ  delivering  the  keys 
to  Peter,  by  Cotignola. 

V.  on  right :  Contains  a  monument  to  Honuphrius 
Panvinius,  ob.  1568,  the  Augustinian  whom  Baronius 
thought  more  fit  than  himself  to  write  the  annals. 

In  the  right  transept  is  an  altar-piece  of  S.  Augus- 
tine between  John  the  Baptist  and  Paul  the  Hermit, 
by  Guercino. 

The  high  altar  and  the  angels  were  designed  by 
Bernini.  Above  it  is  a  Greek  painting  of  the  Madonna, 
brought  from  Constantinople  shortly  after  it  fell  into 
the  hands  of  Mahomet  II.  In  the  lunette  of  the  apse 
is  a  fresco  of  Adam  and  Eve  by  Gagliardi. 

At  the  extremity  of  the  left  transept  lies  the  body  of 
S.  Monica  in  an  urn  of  "  verde  antico,"  brought  here 
from  Ostia  in  1482.  The  altar-piece  is  by  Gothardi, 
the  marble  group  of  S.  Thomas  of  Villanova  by  Ercole 
Ferrata. 

IV.  chapel  on  left :  Contains  an  altar-piece  of  S. 
Apollonia  attributed  to  Volterra. 

II.  on  left  :  Contains  a  well-known  marble  group 
of  the  Madonna  with  the  Child  and  S.  Anna,  to  which 
the  Romans  used  to  attach  sonnets  and  poetical  com- 
positions, the  work  of  Andrea  Contucci  da  Monte  San- 
sovino. 


172       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

In  I.  on  left :  A  Madonna  of  Loreto  by  Caravaggio. 

To  the  right  of  the  main  entrance  is  a  celebrated 
statue  of  the  Madonna  and  Child,  by  Jacopo  Tatti  da 
Sansovino,  highly  venerated  by  the  Roman  people,  and 
covered  with  votive  offerings.  S.  Philip  Neri  was  in 
the  habit  of  coming  constantly  to  pray  in  the  chapel  of 
the  Crucifix  in  this  church. 

The  antiquary  Maliani,  Cardinal  Norris,  ob.  1704, 
the  litterateur  Massimiliano  Sarti,  and  Cardinal  Angelo 
Rocca,  the  founder  in  1605  of  the  adjoining  library 
(Angelica)  which  bears  his  name,  are  buried  in  this 
church. 

It  was  restored  in  1740  by  Vanvitelli,  though  for- 
tunately the  roof  and  fa9ade  were  left  untouched.  It 
has  again  been  recently  decorated  in  a  gay  and  tasteless 
manner. 

Feast  day. — August  28. 

The  Station  is  on  the  ist  Saturday  in  Lent. 

AusELius  AUGTTSTnnjs  is,  of  the  four  Latin  Fathers, 
the  one  who  had  least  connection  with  Rome.  The 
most  famous  theologian  of  the  West,  he  was  born  at 
Tagaste,  in  Numidia,  a.d.  354,  his  mother  Monica 
being  a  Christian,  his  father  Patricius  a  pagan  of  a 
violent  and  passionate  character.  The  most  interesting 
event  in  his  life  was  his  conversion  at  the  age  of  thirty- 
three.  In  his  youth  he  had  taught  rhetoric,  and  it  was 
the  reading  of  Cicero's  Hortensius  in  373  which  dis- 
gusted him  with  his  immoral  way  of  life.  He  joined 
the  Manichaeans,  but  was  always  repelled  by  that  arid 
system.  His  mother  who  spent  her  life  in  works  of 
charity  and  in  praying  for  him,  eventually  found  her 
way  from  Africa  to  Milan ;  where  the  great  Ambrose 
would  comfort  her,  saying  :  "  The  son  of  so  many  tears 
can  never  be  lost."  Augustine  here  became  a  catechu- 
men, and  attended  the  preaching  of  Ambrose.  At 
length  after  a  terrible  struggle  with  himself  in  a 
garden,  during  which  he  heard  the  words  "  ToUe,  lege," 
repeated,  he  opened  the  Epistle  to  the  Romans,  which 
he  had  been  reading,  and  lighted  on  a  passage  which 


THE  CHURCHES  IN  ROME  173 

decided  him.  He  was  baptized  by  Ambrose  in  his 
mother's  presence,  a.d.  387.  In  391  he  was  made  a 
priest,  and  in  396  bishop,  being  eventually  given  the 
diocese  of  Hippo  near  Carthage  ;  this  he  would  not 
leave,  and  constantly  refused  any  other  dignity.  Here, 
when  he  had  nothing  else  to  give,  he  sold  the  sacred 
vessels  to  feed  the  poor. 

Though  Augustine  had  no  profound  theological 
acquirements,  it  is  as  a  theologian  that  he  used  his 
splendid  talents  in  the  cause  of  Christianity.  The 
doctrine  by  which  he  is  best  known  being  that  of  pre- 
destination to  salvation,  which  he  however  guarded. 
To  his  opponents  he  was  no  more  disposed  to  be  fair 
than  other  disputants  of  his  time  ;  and  his  credulity,  to 
judge  from  his  writings,  was  unbounded.  In  intelli- 
gence he  was  both  subtle  and  puerile,  in  character 
pious  and  scrupulous,  and  of  strong  religious  feeling 
which  no  doubt  was  the  main  element  in  his  conver- 
sion to  Christianity.  His  imagination  was  ardent, 
and  he  dreaded  being  led  away  by  his  senses.  During 
the  35  years  of  his  episcopate  he  wrote,  among  a 
multitude  of  works,  the  De  Civitate  Dei,  finished  in  426, 
a  discourse  on  the  Trinity,  De  Beatd  Vita,  De  Gratia 
Christi,  De  Peccato  Originali,  De  Utilitate  Credendi,  and 
the  Confessions. 

S.  ALE8SI0  ON  THE  AVENTINE Roman  tradition  gives 

a  great  antiquity  to  this  church,  and  affirms  that  it  was 
founded  in  the  house  of  Euphemianus  father  of  Alessio, 
in  the  iv.  century.  There  is  a  similar  legend  about 
these  two  saints  in  the  East, 

The  site  is  supposed  to  be  that  of  the  Armilustrum 
of  the  Romans.  The  church  was  originally  called 
S.  Boniface,  and  the  name  of  S.  Alessio  does  not 
appear  with  that  of  S.  Boniface  before  the  close  of  the 
X.  century.'''  Now,  the  names  are  reversed,  and  the 
church  is  called  SS.  Alessio  and  Bonifacio.     In  977 

*  It  is  said  the  original  title  was:  Oratory  of  S.  Aglae  and 
S.  Boniface. 


174       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Benedict  VII.  ceded  it  to  the  Greek  Metropolitan 
Sergius,  who  had  fled  to  Rome  from  his  Damascus 
bishopric  to  escape  the  Arab  persecutions ;  and  he 
founded  close  to  it  a  large  monastery  partly  for  Basilian 
monks,  and  partly  for  Roman  Benedictines,  of  which 
he  became  the  first  Abbot.  This  monastery  became 
the  home  of  a  series  of  distinguished  men.  In  1217 
the  church  was  reconsecrated  by  Honorius  III.,  to 
receive  the  relics  of  S.  Alessio.  From  the  xii.  cen- 
tury the  original  monastery  was  divided  into  two, 
one  portion  called  S.  Boniface,  the  other  S.  Maria, 
now  the  Priorato  of  Malta ;  but  the  Benedictines 
retained  possession  of  the  church  till  1231,  when 
Gregory  IX.  gave  it  and  the  monastery  to  the  Pre- 
monstratensians.  In  1431  they  passed  to  the  Jero- 
mites,  who  restored  and  altered  the  church.  Now  it 
belongs  to  the  Somaschi  Fathers,  and  attached  to  it  is 
an  institution  for  the  blind. 

The  campanile  is  of  the  xii.  or  xiii.  century, 
but  the  church  was  modernized  in  1750,  and  again 
recently.  Adelbert,  apostle  of  the  Bohemians,  Gau- 
denzius  his  brother,  Boniface  apostle  of  South  Russia, 
and  S.  Anastasius  are  buried  in  this  church,  which  was 
called  by  Baronius  "  domicilium  sanctorum."  In  1849 
the  Roman  batteries  were  placed  on  the  piazza  in  front 
to  bombard  the  French  on  the  opposite  side  of  the 
Tiber.  A  French  bomb  came  through  the  roof  of  the 
passage  leading  to  the  sacristy,  and  just  escaped  injur- 
ing the  fine  tomb  by  Murena,  of  Cardinal  di  Bagno, 
ob.  1 64 1,  which  stands  there. 

S.  Alessio  was  declared  a  Cardinal's  titular  church 
by  Sixtus  V.  It  is  rarely  open  except  on  its  feast  day, 
July  17.  The  interior  contains  two  fine  columns 
decorated  with  mosaic  by  Jacobus  Cosma,  belonging 
to  an  episcopal  chair,  the  one  remaining  of  nineteen 
which  stood  together.  The  north  aisle  contains  a  well 
and  wooden  staircase,  said  to  have  belonged  to  the 
house  of  Euphemianus. 
Feast  day. — July  17. 


THE  CHURCHES  IN  ROME  175 

s.  ALEXIS  (ALEssio). — According  to  the  legend,  this  saint 
was  the  son  of  Euphemianus,  and  being  the  subject 
of  a  special  call,  left  his  home  on  the  day  of  his  marriage 
and  travelled  for  seventeen  years  among  all  the  churches, 
unknown.  He  returns  to  Rome  and  seeks  alms  at  his 
parents'  door,  who  are  filled  with  pity  saying  "  Perhaps 
our  son  is  now  a  wanderer  and  in  need,  as  this  poor  man." 
He  lives  as  a  beggar,  fed  by  his  parents  and  despised 
by  the  servants,  for  seventeen  years  more,  soli  Deo 
notus,  known  only  to  God.  Here  he  is  found  one  day 
dead,  under  the  stairs  of  the  palace,  and  on  him  is 
discovered  a  writing  declaring  his  name,  and  re- 
counting all  his  life.  He  is  represented  old  and  worn, 
in  pilgrim's  habit.  He  is  the  patron  of  beggars  and  of 
pilgrims. 

S.  ANASTASIA  at  the  base  of  the  Palatine,  is  an 
ancient  titular  church  of  unknown  origin.  Its  priests  are 
mentioned  as  early  as  492  as  subscribing  to  a  synod  held 
in  Rome  under  Pope  Gelasius,  and  it  is  there  described 
as  S.  Anastasias  suh  Palatio.  It  is  said,  but  without  foun- 
dation, that  S.  Jerome  was  a  priest  of  this  church,  and 
also  that  he  lived  in  the  vicinity  ;  an  enamelled  chalice 
is  shown  with  which  the  saint  is  supposed  to  have 
celebrated  mass.  According  to  tradition  the  church 
was  erected  in  the  house  of  Publius,  husband  of 
Anastasia,  and  of  her  father  Praetextatus.  It  origin- 
ally stood  upon  raised  ground,  and  was  approached 
by  20  steps,  upon  which  were  placed  seats.  It  was 
restored  by  Innocent  III.  in  12 10,  by  Sixtus  IV.  in 
1475,  and  remained  in  its  primitive  form  till  1626, 
when  Urban  VIII.  reconstructed  its  fa9ade  and  re- 
built the  church.  It  stands  upon  ancient  structures 
connected  with  the  Circus  Maximus,  and  with  Roma 
Quadrata,  and  it  still  contains  some  fine  fluted  columns 
of  pavonazzetto  marble,  built  into  the  nave  pilasters, 
which  are  said  to  come  from  the  temple  of  Neptune  on 
the  Palatine. 

S.  Anastasia  is  mentioned  several  times  in  the  Liber 


176       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Pontificalis.  Leo  the  Great  recited  here  a  homily 
against  Eutyches  in  the  mass  on  Christmas  morning, 
and  it  was  the  custom  for  the  popes  to  celebrate 
the  second  of  the  three  Christmas  Masses  in  this 
church. 

In  old  documents  it  is  stated  that  six  canons  were 
attached  to  the  church,  drawing  stipends  of  60  ducats 
annually. 

The  altars  are  dedicated  to  the  Madonna,  to  S. 
Anastasia,  and  to  S.  Jerome.  In  the  left  transept  is 
the  monument  of  Cardinal  Mai,  titular  of  the  church  ; 
and  under  the  high  altar  a  statue  of  the  patron  saint 
by  Ercole  Ferrata. 

In  16 15  a  confraternity  of  tailors  and  cloakmakers 
was  attached  to  the  church.  Up  to  1628  traces  of 
frescoes  still  remained  in  the  4:ribune. 

Feast  day. — December  25. 

The  Station  is  on  the  ist  Tuesday  in  Lent. 

s.  AMA8TA8IA. — This  martyr  is  said  to  have  been  a  noble 
Roman,  burnt  during  the  persecution  of  Diocletian,  a.d. 
304.  Professing  the  Christian  faith  she  was  persecuted 
by  her  husband  and  kinsmen,  but  aided  and  encouraged 
by  S,  Crisogono.  These  events  are  not  supposed  to  have 
taken  place  in  Rome,  but  in  Illyria  ;  although  tradition 
tells  us  that  Anastasia's  friend  Apollina  buried  her  in 
her  garden  by  the  Circus  Maximus,  under  the  Palatine. 
Her  church  there  was  one  of  the  most  important  in 
Rome  in  Jerome's  day.  (See  Christmas  Day,  Part  II. 
of  the  Handbook.) 

S.  ANDREA.  DELLE  FRATTE,  or  inter  hortos.  The 
region  on  the  slopes  of  the  Pincian,  the  hill  of  gardens 
of  ancient  Rome,  was  called  in  the  middle  ages  Inter 
Hortos,  and  hence  the  name  of  an  ancient  church  which 
stood  upon  or  near  the  site  of  the  present  one.  The 
name  della  Fratta  "of  the  shambles"  occurs  first  in 
the  XV.  century,  when  the  church  was  also  called  "  ad 
caput  domortim,"  an  appellation  which  survives  in  the 
name  of  the  neighbouring  street  of  "  Capo  le  Case." 


THE  CHURCHES  IN  ROME  177 

The  church  of  S.  Andrea  originally  belonged  to  some 
Augustinian  nuns,  then  passed  into  the  possession  of 
the  Scotch  nation  until  the  Reformation.  After  that 
time  till  1574  it  was  possessed  by  a  confraternity  who 
annexed  to  it  a  hospice  for  lodging  the  poor  gratuitously. 
In  1585  Sixtus  V.  gave  it  to  the  Minimite  order  who 
still  possess  it.  The  old  church  was  entirely  de- 
molished and  the  present  one  built  in  161 2  at  the  ex- 
pense of  the  Marchese  del  Bufalo,  whose  palace  was 
situated  in  its  vicinity.  It  was  designed  by  Padre 
Guerra,  an  Oratorian,  and  completed  by  Borromini, 
who  also  built  the  cupola  and  bell-tower.  The  fa9ade 
was  designed  by  Valadier,  but  its  upper  part  was  not 
completed  till  1826,  when  funds  were  left  for  the  pur- 
pose by  Cardinal  Consalvi,  derived  from  the  sale  of 
his  costly  collection  o£  snuff-boxes. 

S.  Andrea  is  the  parish  church  of  the  region  round 
the  Piazza  di  Spagna,  and  is  a  very  popular  one  with 
the  Roman  people.  It  contains  the  tombs  of  Angelica 
Kauffman,  who  died  in  Rome  in  1805  ;  of  Schadow  the 
Prussian  sculptor  ;  of  George  Zoega,  the  Danish  anti- 
quary, who  died  in  1809  ;  of  a  king  of  Morocco,  who 
was  converted  in  Rome  in  1733,  and  who  there  died 
in  1739.  Otherwise  the  interior  consisting  of  a  single 
nave  lined  with  chapels  and  terminating  in  an  apse, 
contains  little  of  interest  or  value. 

Chapels. — III.  on  the  right:  contains  the  tomb  of  a 
young  Englishwoman,  Judith  de  Palezieux  Falconnet, 
with  a  beautiful  reclining  figure  by  the  American  sculptor 
Hosmer,  1856. 

The  two  figures  of  angels  at  the  high  altar  are  by 
Bernini,  and  were  intended  for  the  Ponte  S.  Angelo, 
but  were  judged  too  small  for  that  position  by  Pope 
Clement  IX.  Decorating  the  apse  are  frescoes  repre- 
senting scenes  in  the  life  of  S.  Andrew. 

In  the  III.  on  left  are  three  pictures  of  the  Madonna ; 
the  central  one,  by  Cades,  representing  her  as  she  is  said 
to  have  miraculously  appeared  in  this  church  to  a  French 
Jew  called  Ratisbonne,  in  1842.     Ratisbonne  was  con- 

12 


178        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

verted  to  Christianity  by  this  miracle,  an  event  which 
caused  quite  a  stir  in  Rome. 

The  II.  chapel  on  the  left  contains  an  altar-piece  of 
S.  Giuseppe  Labbre. 

I.  chapel  on  the  left  is  dedicated  to  S.  Philip  Neri. 

S.  ANDEEA  A  MONTE  CAVALLO,  also  called  de  Equo 
Marmoveo  and  de  Caballo,  is  situated  opposite  the 
Royal  Palace  in  the  Via  del  Quirinale,  and  is  one 
of  some  25  churches  dedicated  to  S.  Andrew  at 
different  epochs  in  Rome.  It  is  said  to  stand  upon 
or  near  the  site  of  the  temple  of  Quirinus,  erected  by 
Romulus.  Camerario,  afterwards  Pope  Honorius  III. 
(i2i6),  mentions  this  church  as  abandoned  and  without 
clergy  ;  and  in  1556  we  find  this  same  area  of  ground 
granted  by  Giovanni  Andrea  Croce,  Bishop  of  Tivoli, 
to  S.  Francis  Borgia,  under  whose  auspices  the  present 
church  was  erected  at  the  cost  of  Prince  Camillo 
Pamfili,  nephew  of  Innocent  X.,  its  ancient  name  of 
S.  Andrea  a  Monte  Cavallo  being  retained.  The 
Jesuits  had  a  novitiate  house  here  until  1870.  It  was 
built  chiefly  at  the  expense  of  Duchessa  Tagliacozzo, 
who  gave  up  to  it  her  garden  and  some  contiguous 
houses. 

The  present  church,  from  designs  of  Bernini,  has  a 
Corinthian  fa9ade,  with  a  semicircular  portico  of 
Ionic  columns.     The  rich  interior  is  oval  in  shape. 

Chapels. — To  the  right  on  entering  is  the  chapel 
dedicated  to  S.  Francis  Zavier,  containing  three 
paintings  of  scenes  in  the  life  of  this  saint,  by 
Baciccio. 

Above  the  High  Altar  is  a  crucifixion  of  S.  Andrew 
by  Borgognone  ;  on  each  side  are  fine  columns  of 
cottanella  marble.   . 

To  the  left  is  the  chapel  of  S.  Stanislaus  Kostka, 
with  an  altar-piece  by  Carlo  Maratta,  of  the  saint 
kneeling  before  the  Virgin.  In  an  urn  in  this  chapel 
are  preserved  the  ashes  of  the  saint,  and  the  room  in 
which  he  died,  converted  into  a  chapel,  was  preserved 


THE  CHURCHES  IN  ROME  179 

in  the  adjoining  house  until  1887,  when  it  was  de- 
stroyed by  the  present  Government,  a  facsimile  being 
however  retained,  containing  a  statue  of  the  dying 
saint  by  Le  Gros.  It  was  in  the  original  chapel 
that  Leo  XIII.  said  his  first  mass  in  1837.  Carlo 
Emanuele  IV.  of  Sardinia,  who  abdicated  his  throne 
in  1802,  entered  the  Society  of  Jesus  and  died  in 
this  novitiate  house  in  1808;  he  is  buried  in  the 
church. 

S.  ANDBEA  DELIA  VALLE,  in  the  modern  Corso  Vittorio 
Emanuele,  stands  on  the  site  of  the  curia  of  Pompey, 
which  held  his  statue,  now  in  the  Farnese  Palace. 
The  present  church  is  of  the  xvi.  century,  and  occupies 
the  site  of  a  more  ancient  one  dedicated  to  S.  Sebastian. 
It  was  built  in  honour  of  S.  Andrew  by  the  desire  of 
Costanza  Piccolomini,  who  gave  her  palace  for  th^  pur- 
pose. The  design  is  by  Padre  Obarin  a  Roman,  com- 
pleted by  Carlo  Maderno,  the  fa9ade  by  Rainaldi.  The 
cupola  is  the  largest  in  Rome,  after  S.  Peter's. 

On  the  fa9ade  are  rows  of  coupled  columns,  in  the 
niches  of  which  are  statues  by  Ercole  Ferrata,  by  D. 
Guidi,  and  by  Fancelli.  The  interior  consists  of  a  wide 
nave,  with  6  chapels  and  transept. 

The  cupola  is  decorated  with  frescoes  by  Lanfranco, 
on  the  model  of  Corregio's  cupola  at  Parma,  and  is 
considered  one  of  his  best  works.  The  Evangelists  at 
the  corners  are  by  Domenichino,  as  are  also  the 
paintings  on  the  tribune  vault,  which  represent  scenes 
in  the  life  of  S.  Andrew.  The  walls  of  the  choir  are 
decorated  with  frescoes  of  the  crucifixion  of  S.  Andrew, 
by  Calabrese. 

Chapels. — The  II.  on  the  right  :  The  Strozzi  chapel, 
designed  by  Michael  Angelo,  contains  copies  in  bronze 
of  his  Pieta  in  S.  Peter's,  and  of  the  Elias  and  Rachel 
in  S.  Pietro  in  Vincoli. 

In  the  right  transept  is  Lanfranco's  picture  of  S. 
Andrea  Avellino. 

III.  on  left :  S.  Sebastian,  by  Giovanni  de'  Vecchi. 


i8o       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

II.  on  left :  The  Rucellai  chapel,  contains  the  tomb 
of  the  Archbishop  of  Benevento,  ob.  1556. 

I.  on  left :  The  Barberini  chapel,  erected  by  Urban 
VIII.  while  still  Cardinal  Barberini,  is  rich  in  marbles 
and  pictures.  It  contains  the  busts  of  his  parents, 
sculptured  in  porphyry ;  an  Assumption  by  Passignani, 
and  figures  of  S.  Martha  by  Mochi ;  S.  John  the  Evan- 
gelist by  Buonvicino,  S.  John  Baptist  by  Bernini,  and 
the  Magdalen  by  Santi.  In  the  nave  are  the  tombs  of 
Pius  II.  (1458)  and  III.  (1503),  by  Paolo  Romano  and 
Pasquino  of  Montepulciano,  removed  here  from  old  S. 
Peter's.  A  palace  which  these  popes  occupied  formerly 
stood  in  the  vicinity.  The  octave  of  Epiphany  is  kept 
at  this  church,  with  the  celebration  of  the  liturgy  in 
Oriental  rites.* 

Feast  day. — November  30. 

S.  An-  s.  ANDREW  was  the  first  chosen  of  the  twelve  Apostles; 

drew,         he  has  hence  been  called  6  7r/)a)TOKA^Tos. 

Apostle.  According  to  the  Russian  tradition  he  was  the  first 

to  preach  to  the  Muscovites.  The  beautiful  account 
of  his  martyrdom  given  for  November  30  in  the 
Breviary,  is  the  compilation  of  the  priests  and  deacons 
of  Achaia  in  the  vii.  century,  though  based  on  ancient 
tradition.  There  is  also  an  apocryphal  letter  recounting 
his  martyrdom.  All  authors  agree  that  he  was  crucified, 
the  occasion  of  his  death  being  we  are  told  his  conver- 
sion of  the  wife  of  the  Proconsul  ^geas,  Maximilla. 
He  was  tied  with  cords  to  a  tree  roughly  arranged 
crosswise  ;  others  say  it  was  a  transverse  cross,  and 
with  such  he  has  always  been  represented  since  the 
XIV.  century.  On  the  doors  of  S.  Paolo  the  cross  is 
Y-shaped  ;  Peter  Chrysologus  calls  it  a  tree.  In  the 
Achaian  story  he  adores  his  cross  as  he  is  led  to  it, 
being  then  a  very  old  man.  He  hung  on  it  for  two 
days,  not  ceasing  to  preach  the  faith  of  Christ.  The 
two  scenes  of  his  flagellation  before  crucifixion,  and  of 
his  adoration  of  the  cross,  sometimes  occur  in  art.    His 

♦  See  Part  II. 


THE  CHURCHES  IN  ROME  i8i 

body  was  removed  by  Constantine  to  Constantinople, 
and  thence  to  Amalfi ;  the  head  being  brought  to  S. 
Peter's  in  Rome  by  Pius  II. 

In  the  IV.  century  some  relics  of  the  Apostle  were 
brought  from  Patras  in  Achaia  where  he  suffered,  to 
Scotland,  and  he  has  since  this  date  been  revered  as 
Scotland's  Patron. 

8.  ANICETO. — An  interesting  oratory,  the  ancient 
chapel  of  Palazzo  Altemps.  It  is  decorated  with  paint- 
ings of  Pomarancio  and  Leoni,  Over  the  altar  is  a 
painting  of  the  Madonna,  believed  to  be  the  work  of 
Raphael. 

It  is  said  that  in  the  time  of  Clement  VIII.  the 
Altemps  family  brought  the  relics  of  S.  Anicetus 
here. 

A  chasuble  used  by  S.  Charles  Borromeo  is  pre- 
served in  the  sacristy. 

The  palace  and  chapel  have  just  been  temporarily 
given  to  the  Spanish  seminary  by  Leo  XIII. 

On  the  feast  of  S.  Anicetus,  April  17,  there  is  a 
picturesque  festa  here,  and  the  floor  is  strewn  with 
box  leaves.  The  entrance  is  through  Palazzo  Altemps 
in  Piazza  di  S.  Apollinare. 

AMicETTJs  was  Pope  after  S.  Pius  I.  and  before  Soter, 
A.D.  157-168,  or  167-175,  as  the  date  is  variously  given. 
He  was  of  Syrian  nationality,  and  sat  with  great 
authority,  consulted  by  the  Christian  world.  In  his 
day  it  was  fully  admitted  by  all  that  the  Church  of 
Rome  had  been  founded  by  Peter. " 

Polycarp,  the  disciple  of  S.  John  visited  Rome  in 
this  bishop's  time,  and  Polycrates  in  his  letter  to 
Pope  Victor  quotes  with  approval  their  behaviour  to 
each  other  on  the  question  of  Easter,  and  the  modera- 
tion and  fairness  of  Anicetus. 

88.  ANNA  E  GIOACCHINO  at  the  Quattro  Fontane  is  a 
little  XVII.  century  church  built  by  the  reformed  dis- 

•  Renan,  Marc-Avrele  et  la  fin  du  monde  antique. 


182        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

calced  Carmelites  of  Spain  who  remained  in  possession 
till  1809.  It  is  now  the  chapel  of  the  Belgian  College 
of  Seminarists. 

B.  AMKA. — According  to  the  "Gospel  of  James"  the 
parents  of  the  Blessed  Virgin  were  Anna  and  Joachim. 
The  veneration  of  S.  Anna  is  of  very  ancient  date,  and 
the  Liber  Pontificalis  states  that  Leo  IIL  (795)  had 
the  history  of  Anna  and  Joachim  painted  in  S.  Paul's 
Basilica.  In  the  xiv.  century  the  devotion  to  S.  Anna 
was  largely  propagated,  and  from  this  period  we  find 
churches  commonly  dedicated  to  her.*  Her  feast  day, 
July  26,  was  sanctioned  for  the  Universal  Church  by 
Gregory  XIII.  in  1584. 
Story  of  The  Gospel  of  James  tells  us  that  Mary's  two 
Anna  and  parents  were  just  and  holy  people  who  divided  their 
Joachim,  goods  into  three  parts :  one  for  the  poor,  one  for  the 
service  of  the  Temple,  and  one  for  their  own  use.  But 
they  were  childless,  and  Joachim  was  repulsed  from 
the.  Temple  when  he  dared  to  offer  his  gift  with  the 
fathers  of  Israel.  He  retired  to  a  mountain  solitude, 
his  soul  bitter  within  him,  and  there  received  an  answer 
that  they  should  have  a  child.  Anna  prayed  in  her 
garden,  receiving  the  same  message,  and  then  Anna 
and  Joachim  met  at  the  Golden  Gate  of  the  city,  each 
with  the  great  news  in  their  hearts,  and  fell  upon  each 
other's  necks. 

The  story  is  referred  to  in  a  sermon  by  Epiphanius 
in  the  iv.  century.  In  art  Anna  is  often  represented 
with  Mary  learning  at  her  knee,  or  in  pictures  with 
Mary,  the  Divine  infant,  and  John. 

The  feast  of  S.  Joachim  is  kept  on  the  Sunday 
within  the  octave  of  the  Assumption.  The  present 
Pope  has  made  the  feast  a  double-major, 

S.  ANTONIO  DE"  P0ET0GHE8I,  near  the  Via  della  Scrofa, 
was  built  in  the  xv.  century  by  Cardinal  Martinez 
di  Chales  on  his  return  from  the  Council  of  Florence. 
It  is  the  national  church  of  the  Portuguese,  and  was 

*   Vide  the  account  of  the  Hail  Mary.  Part  II. 


THE  CHURCHES  IN  ROME  183 

erected  upon  the  site  of  a  hospice  for  pilgrims  of  this 
nation.  It  was  entirely  rebuilt  and  much  amplified 
at  the  national  expense  about  1695,  and  it  was  com- 
pletely repaired  by  Vespignani  junior  in  1870.  The 
interior  is  rich  with  coloured  marbles  and  Sicilian 
jasper. 

Feast  day. — June  13. 

For  the  life  of  S.  Antony,  see  the  Part  of  the  Handbook  which 
deals  with  religious  orders. 

S.  APOLLINA££,  originally  called  S.  Apollinare  in 
Archipreshyteratu,  in  the  piazza  of  that  name,  is  one  of 
the  four  chief  churches  that  existed  in  Rome  dedicated 
to  this  saint. 

It  was  built  about  a.d.  780  by  Pope  Adrian  I.* 
Here  he  placed,  it  is  said,  a  convent  of  Basilian  monks, 
who  had  fled  from  the  iconoclast  Leo  the  Isaurian. 
Adinolfi,  however,  refers  this  story  to  another  church 
of  S.  Apollinare  near  the  Vatican. 

In  the  XIII.  century  the  church  was  administered 
by  a  chapter  of  secular  canons.  In  the  xv.  century 
an  archpriest  is  also  mentioned,  whence,  perhaps,  the 
name  in  '■^Archipreshyteratu.'" 

Leo  X.  made  it  a  titular  church,  and  its  first  titular 
Cardinal  Pallavicino.     Sixtus  V.  took  away  its  title. 

The  church  we  see  to-day  dates  from  the  time  of 
Benedict  XIV.,  1740.  A  very  large  vestibule  leads 
to  an  undivided  nave  ;  a  painting  at  the  altar  on  the 
left  of  the  vestibule,  representing  the  Madonna  with 
SS.  Peter  and  Paul,  has  been  attributed  to  Perugino. 
It  is  a  picture  of  the  Umbrian  school  of  the  xvi. 
century. 

The  picture  over  the  high  altar  represents  S.  Apol-  Interior, 
linare   being   consecrated   bishop  of  Ravenna  by  S. 
Peter. 

Julius  III.,  1550,  gave  the  old  church  to  S.  Ignatius 

Loyola,  who  here  founded  the  Germanic  College,  the 

church  being  rebuilt  in  1552.     The  seminary  of  the 

diocese  of  Rome,  with  the  residence  of  the  Cardinal- 

•  Lib.  Pont,  in  Adriano. 


1 84       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Vicar  and  his  curia,  were  placed  at  S.  Apollinare  by 
Leo  XII.,  1823, 

In  a  little  basilica-shaped  chapel  in  the  annexed 
college  is  a  large  collection  of  relics  of  martyrs,  and 
other  objects  from  the  Catacombs.  These  are  ex- 
hibited on  the  day  of  the  station. 

Another  oratory  dedicated  to  the  Madonna,  contains 
a  little  picture  of  her  which  belonged  to  the  Venerable 
Maria  Fornari.  The  image  of  the  Madonna  at  present 
in  the  church  was  removed  from  the  older  building, 
where  it  stood  in  the  little  portico  between  the  church 
and  the  door. 

Feast  day. — July  23. 

The  Station  is  on  the  6th  Thursday  in  Lent. 

B.  APOLLiNAius  is  Said  to  have  accompanied  Peter 
from  Antioch  to  Rome.  He  was  ordained  bishop  by 
the  Apostle,  and  sent  to  preach  the  Gospel  at  Ravenna. 
There  he  is  said  to  have  been  taken  by  the  pagan 
priests,  and  flagellated.  At  the  prayer  of  the  holy 
bishop,  a  certain  Boniface  who  was  mute  began  to 
speak,  and  his  daughter  was  cleansed  of  an  unclean 
spirit.  These  things  led  to  a  commotion  in  the  city, 
and  after  being  beaten  with  rods,  and  having  burning 
coals  applied  to  his  feet,  the  fire  being  powerless  to 
hurt  him,  he  was  cast  out  from  the  town.  Apollinaris 
repaired  to  Emilia  with  other  Christians  ;  but,  neglect- 
ing the  command  to  cease  preaching  the  Gospel,  he 
was  barbarously  tortured,  and  the  fourth  day  placed 
on  a  ship  and  sent  into  exile.  He  came  to  Thrace, 
and  thence  to  Ravenna,  where  being  again  tortured, 
he  gave  up  his  spirit  on  the  seventh  day,  exhorting 
the  Christians  to  constancy  in  the  faith.  This  Martyr- 
Bishop  is  Patron  of  Ravenna,  where  he  is  buried. 
We  find  him  represented  in  art  as  a  Bishop  with  the 
martyr's  emblems. 

SS.  AFOSTOLI,  in  the  piazza  of  the  same  name.  This 
ancient  basilica,  constructed  by  Pelagius  a.d.  555,  and 
completed  by  John  III.  in  560,  as  we  learn  from  an 


THE  CHURCHES  IN  ROME  185 

inscription  on  the  epistyle  of  the  old  door,  was  dedicated 
to  the  Apostles  PhiUp  and  James.  According  to  some, 
it  was  the  Basilica  Julia  built  by  Julius  I.  (337-340), 
juxta  forum  divi  Traiani  (Liber  Pontificalis),  but  this  is 
improbable. 

Nothing  of  the  ancient  church  remains.  While 
making  the  excavations  for  the  present  confession,  the 
bases  of  columns  still  in  situ,  were  found,  showing 
that  the  level  of  the  ancient  edifice  was  some  metres 
below  that  of  the  present  church.  In  1873  a  little 
well  was  found  with  rehcs  of  the  Apostles  Philip  and 
James,  together  with  fragments  of  balsam,  which  were 
placed  there  in  the  vii.  century,  at  the  epoch  of  the 
foundation  of  the  church.  Adrian  I.,  in  a  document 
directed  to  Charlemagne,  speaks  of  the  vastness  of 
this  church,  and  says  it  was  adorned  with  mosaic. 
The  material  used  was  perhaps  taken  from  the  Baths 
of  Constantine  then  in  a  state  of  decay.  Stephen  VI. 
(885-891),  whose  paternal  house  was  adjacent  to  the 
church,  rebuilt  it.  It  was  destroyed  by  the  earthquake 
of  1348,  and  lay  in  a  state  of  ruin  for  nearly  a  century 
with  many  other  edifices  of  the  city.  Martin  V. 
(Colonna),  1417,  then  renewed  the  basilica  and  the 
contiguous  palace  of  his  family,  which  he  extended 
as  far  as  the  Quirinal.  Sixtus  IV.  (147 1)  added  the 
tribune.  The  present  church  was  entirely  rebuilt  by 
Clement  XI.  (1700),  and  consecrated  by  Benedict  XIII. 
in  1724.  The  portico  was  added  by  Giuliano  della 
Rovere  (1500)  afterwards  Julius  II.,  from  the  designs 
of  Baccio  Pintelli,  who  enlarged  the  convent  then  a 
residence  of  the  popes.  To-day  it  is  converted  into 
the  Circolo  Militare.  Inside  the  portico  is  a  stone  lion 
which  supported  one  of  the  columns  of  the  mediaeval 
church,  the  work  of  Vassallectus,  whose  name  pre- 
ceded by  a  cross,  is  engraved  on  the  base.  Here  also 
is  an  eagle  from  the  Forum  of  Trajan,  esteemed  as 
an  early  example  of  stone  decoration,  and  Canova's 
monument  to  his  friend  Giovanni  Volpato  the  en- 
graver. 


1 86       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Interior. 


Chapels. 


Cloisters. 


Duca  Giovanni  Torlonia  completed  the  facade  in 
1827.  It  was  restored  by  P.  Antonio  Bonelli  parocco 
of  the  church,  a  few  years  ago. 

The  church  belongs  to  the  first  order  of  S.  Francis, 
or  Minor  Conventuals,  called  in  Italy  the  "  Signori,"  as 
did  also  the  large  convent  until  recent  years. 

From  the  xvi.  century  the  basilica  has  been  com- 
monly called  "  basilica  duodecim  apostolorum  "  (of  the 
twelve  Apostles). 

Chapels. — The  III.  chapel  on  the  right  contains  the 
S.  Antony  of  Benedetto  Luti,  mentioned  by  Lanzi.  At 
the  high  altar  is  Muratori's  martyrdom  of  SS.  Philip  and 
James,  said  to  be  the  largest  altar-piece  in  Rome ;  it  is 
painted  on  the  wall.  In  the  tribune  are  the  two  monu- 
ments erected  by  Sixtus  IV.  to  his  nephews,  Pietro 
and  Alessandro  Riario  ;  on  the  ceiling,  the  fall  of  the 
angels,  by  Giovanni  Odassi.  In  the  left  aisle,  over 
the  door  leading  to  the  sacristy,  is  the  monument  to 
Clement  XIV.,  executed  by  Canova  in  his  twenty-fifth 
year.  The  Pope  is  seated,  with  figures  of  Temperance 
and  Meekness  on  either  hand.  The  remains  of  this 
pontiff,  who  was  a  Minor  Conventual,  are  laid  in  the 
cloisters,  having  been  removed  from  S.  Peter's  in  1802. 
The  second  chapel  on  the  left  contains  the  Descent 
from  the  Cross  by  Francesco  Manni.  On  the  roof  of 
the  nave  is  the  Triumph  of  the  Franciscan  Order,  by 
Baciccio.  The  passage  leading  to  the  cloisters  contains 
a  monument  to  Michelangelo,  who  died  in  this  parish 
February  17,  1563,  and  was  first  buried  here  before 
the  clandestine  removal  of  his  remains  to  S.  Croce  in 
Florence.  The  monument  is  a  recumbent  figure  of 
the  great  artist,  and  the  likeness  is  striking. 

There  are  also  two  monuments  to  the  memory  of 
Cardinal  Bessarion,  the  great  Patriarch  of  Constanti- 
nople, ob.  1472,  who  attached  himself  to  the  Roman 
Church,  and  was  Bishop  of  Tusculum.  He  was  born 
at  Trebizond,  and  died  at  Ravenna.  The  Greco-Latin 
inscription  on  one  of  the  monuments  is  by  himself. 
Cardinal  Bessarion  greatly  contributed  to  the  introduc- 


THE  CHURCHES  IN  ROME  187 

tion  of  Greek  literature  in  Europe  after  the  Revival  of 
Letters.  In  the  centre  of  the  cloister  is  the  ancient 
marble  vase  or  cantharus,  which  stood  in  the  atrium 
of  the  old  church.  A  xii.  century  document  fixing 
the  limits  of  the  parish,  mentions  the  road  nhi  est  calix 
marmoreus — that  is,  this  cantharus  for  the  ablutions, 
used  at  that  period  as  a  font. 

In  the  old  basilica  were  12  chapels,  6  on  each 
side.  In  the  present  church  there  are  three  on  each 
side.  A  barbarous  usage  on  the  feasts  of  SS.  Philip 
and  James  in  the  mediaeval  church  of  the  Apostoli  is 
described  by  CanceUieri :  A  little  pig  was  suspended 
from  the  roof,  near  the  ground,  and  basins  of  water 
were  thrown  over  the  crowds  as  they  rushed  to 
possess  themselves  of  it.  Birds  were  also  let  loose 
into  the  church.  An  example  of  the  extreme  of  buf- 
foonery co-existing  in  the  spirit  of  the  middle  ages 
Avith  an  exaggerated  lugubriousness  and  horror, 
especially  as  surrounding  death. 

Feast  day. — The  patronal  feast  of  this  church  is  May  i. 

88.  PHILIP  AND  JAMES. — All  we  Icnow  of  S.  Philip  from 
the  New  Testament  is  in  John,  chapters  xii.  and 
xiv.  Papias  speaks  of  "  the  daughters  of  the  apostle 
Philip,"  who  lived  in  HierapoHs,  and  who  told  him  a 
wonderful  narrative.  Polycrates  speaks,  in  a  letter  to 
Pope  Victor,  of  the  /xeydXa  a-Tot-x^la,  the  great  founda- 
tions of  the  Church,  Philip  one  of  the  Twelve,  his  two 
daughters  who  were  virgins,  and  a  third  daughter. 
In  the  Greek  calendar  Philip's  daughter  Hennione 
and  sister  Mariamne  both  appear.  From  the  letter 
above  quoted  we  learn  that  Philip  was  buried  at 
Ephesus. 

JAME8  THE  LESS,  Called  the  brother  of  the  Lord,  and 
surnamed  the  Just,  is  said  by  tradition  to  have  been  so 
like  Christ  that  "  the  Holy  Virgin  herself,  could  she 
have  been  deceived,  might  have  mistaken  one  for  the 
other  ;"  and  that  this  likeness  rendered  necessary  the 
kiss  of  Judas.      Nothing  is  recorded  of  him   in  the 


i88       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Gospels.  He  is  called  the  "  son  of  Alphaeus,"  and  the 
brother  of  the  Lord,  and  of  Joses,  After  the  Ascen- 
sion he  becomes  a  figure  of  much  importance,  and 
was  Bishop  of  Jerusalem. 

James  was  thrown  down  from  a  height  of  the 
Temple  at  Jerusalem,  and  then  despatched  with  a 
club.  He  is  said  to  have  always  dressed  in  white  linen 
garments,  and  Cyril  tells  us  the  Patriarch  of  Jerusalem 
invariably  wore  white  also.  The  identification  of 
James  the  Lord's  brother  with  James  6  Mixpos  (the 
Less)  is  made  by  S.  Jerome. 

The  bodies  of  these  two  Apostles  are  said  to  have 
been  brought,  the  one  from  Hierapolis,  where  the 
Christians  had  buried  him,  and  the  other  from  Jeru- 
salem where  he  lay  near  the  Temple,  to  Rome  to  be 
placed  in  the  Basilica  "  duodecim  apostolorum."  They 
are  Con-protectors  of  Rome. 
Mar-  Although  Eusebius  says  that  all  the  Apostles  were 

tyrdom       martyred,  there  is  no  testimony  to  support  this.     But, 
AposUes     ^^  least,  they  were  all  "  confessors  "  ("  martyrs  "),  in  the 
primitive  sense  of  enduring  sufferings  for  the  faith  they 
propagated.     In  an  ancient   Greek  picture,  5  of  the 
Apostles  are  represented  crucified,  of  whom  Peter  and 
Philip  have  the  head  downwards,  and  Bartholomew 
and  Simon  Justus  are  crucified  like  their  Master.    John 
is  buried  and  raised  by  angels.     A  similar  series,  of 
Greek   x.    century  workmanship,  adorned   the   doors 
of  Old  S.  Paul's  London. 
Attributes      The  attribute  of  S.   Peter  is  the  keys ;  he  is  also 
in  Art.        represented  with  a.  fish,  with  a  hook,  and  with  a  cross. 
Anckew  Andrew's  attribute  is  his  X-shaped  cross,  the  instru- 

James  the  rnent  of  his  martyrdom.  James  the  Greater  has  a 
Greater,  sword,  as  he  was  beheaded,  or  carries  a  pilgrim's  staff. 
John.  For  John's  "  martyrdom  "  see  p.  239.     His  attributes 

are  the  bath  of  oil,  or  the  chalice  in  allusion  to  Christ's 
words  to  James  and  John,  "  You  shall  indeed  drink  of 
My  cup,"  although  two  or  three  legends  have  been 
invented  to  account  for  it,  one  being  that  an  attempt 
was  made  to  poison  him  in  the  sacramental  cup  at 


THE  CHURCHES  IN  ROME  189 

Rome,  the  poison  issuing  in  the  form   of  a  serpent. 
The  cup  is  kept  at  S.  Giovanni  Porta  Latina.     Some- 
times the  cup  has  a  wafer  over  it,  and  the  allusion  is 
then    to   the   institution   of  the    Eucharist.     In   later 
Western  art  S.  John  is  always  young,  and  wears  no 
beard  (see  "  Evangelists,"  infra).   Philip  bears  a  crozier,  Philip, 
or  a  tau-shaped  cross  as  the  instrument  of  his  martyr- 
dom.    Bartholomew  bears  a  flaying  knife,  or  his  skin,  Bartholo- 
in  allusion  to  his  death ;  Thomas  a  spear,  or  a  builder's  mew. 
rule  in  reference  to  a  legend.     Matthew,  as  an  Apostle,  JJ^^"^^" 
holds  a  purse,  in  allusion  to  his  previous  post  at  the     ^     ®^' 
receipt  of  customs,  or  he  holds  a  book  or  a  pen,  as  an 
EvangeUst.     S.  James  the  Less  is  distinguishable  by  s.  James 
the  resemblance  to  Christ,  carefully  preserved  in  the  the  Less, 
earliest  representations,  and  by  a  club  or  thick  stick  in 
allusion    to    his    martyrdom.       S.    Simon    was    sawn  Simon, 
asunder  ;  S.  Jude,  or  Thaddeus,  killed  with  a  halberd  :  jude. 
these  attributes  are  pecuhar  to  Western  art.*     Judas  Judas. 
Iscariot  is  represented  carrying  the  "  bag."    S.  Matthias  Matthias. 
bears  the  instrument  of  his  martyrdom — a  lance  or 
axe.     S.  Paul  is  always  represented  with  a  sword  ;  Paul, 
this  emblem   does   not   occur   in   the   earliest   art   in 
Rome,  but  only  after  the  vi.  century.      Barnabas  is  Barnabas, 
represented  as  a  man  of  fine  presence,  and  carries  the 
Gospel  of  S.  Matthew  in  his  hand.     Sometimes  he  is 
represented  as  a  bishop,  on  account  of  the  tradition 
that  he  was  the  first  Bishop  of  Milan. 

The  four  Evangelists  are  often  represented  together.  The  four 
but  in  the  earliest  Roman  art  they  appear  under  the  Evan- 
symbols  of  the  "  four  witnesses,"  the  "  living  creatures  "  g^l^sts. 
of  Ezechiel  i.  5-14.     S.  Matthew  is  represented  as  the 
man-faced  cherub,  S.  Mark  as  the  lion,  S.  Luke  the 
ox,  S.    John  the  eagle.     It  is  not  clear  when  these 
emblems   began   to  be   used.      Jerome   in   his  Com- 

*  The  "  twelve  martyrdoms  "  occur  in  a  fresco  at  SS.  Nereo  e 
Achilleo.  Peter,  Andrew,  and  Philip  are  crucified  ;  James  the 
Greater  and  Simon  die  by  the  sword,  and  so  does  Matthew ; 
Jude  and  Matthias  by  the  club  and  halberd.  On  the  old  Greek 
doors  of  S.  Paolo,  S.  Matthew  dies  peacefully  in  bed,  incense 
being  swung  round  him. 


190       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

mentary  on  Ezechiel,  allots  them  as  we  do  now : 
Matthew  being  the  recorder  of  Christ's  human  nature, 
Luke  representing  Him  in  the  aspect  of  a  sacrifice, 
while  Mark's  emblem  refers  to  the  third  verse  of  his 
Gospel,  where  the  verb  used  for  crying  is  fSodo),  to 
roar,  and  the  lion  thus  signifies  "  the  voice  crying  in  the 
wilderness";  or  because  he  represents  to  his  readers 
the  kingly  nature  of  Christ.  The  eagle  of  John  signifies 
inspiration,  as  he  is  the  recorder  of  the  divine  nature. 
Luke  S.  Luke  is  variously   represented   to   have  been  a 

physician  or  a  painter  (cf.  Col.  iv.  14),  and  is  supposed 
to  have  painted  many  of  the  very  ancient  Byzantine 
pictures  of  the  Madonna.  The  story  that  he  was  a 
painter  is  not  traceable  beyond  the  x.  century,  and 
then  among  the  Greeks.  It  is  also  said  that  a  drawing 
of  Mary  in  the  Catacombs  had  an  inscription  over  it, 
"  One  of  the  seven  painted  by  Luca,"  and  this  led  to 
the  supposition  that  this  Luca  was  the  Evangelist. 
Mrs.  Jameson  has  pointed  out  that  S.  Luke  has  in 
fact  "  painted  a  portrait  "  of  Mary  in  his  Gospel. 
S.  Luke  was  in  Rome  with  S.  Paul.  A  chapel  is 
shown  in  the  Church  of  S.  Maria  in  Via  Lata  which  is 
called  the  room  in  which  he  wrote  his  Gospel,  and 
painted  the  Madonna.  S.  Mark  is  referred  to  in  the 
account  of  the  basiHca  dedicated  to  him. 

ARA  CCELI,  or  S.  MARIA  IN  ARACOELI.— This  famous 
church  stands  upon  the  summit  of  the  Capitol  Hill. 
It  occupies  according  to  the  latest  authorities,  the  site 
of  the  arx,  or  citadel  of  Rome,  and  not  that  of  the 
Temple  of  Jupiter  which  stood  where  we  now  see  the 
Caffarelli  Palace,  this  point  of  the  hill  the  Tarpeon, 
being  divided  from  that  occupied  by  the  church  by  a 
slight  depression.  The  church  was  originally  called 
S.  Maria  in  Campitoho,  a  name  which  is  found  changed 
to  that  of  Ara  Coeli  about  the  xiv.  century,  and  vary- 
ing to  Aurocelio,  Laurocelio,  and  Aracelio. 
History.  The  Benedictine  chronicles  state  that  the  church 
was   built   by   Gregory   the   Great   in   591,   and    the 


THE  CHURCHES  IN  ROME  191 

adjacent  monastery  is  found  mentioned  as  early  as 
882. '■'  Others  attribute  its  foundation  to  Constantine. 
A  legend  of  the  middle  ages  relates  that  the  emperor 
Octavius  was  one  day  consulting  the  Tiburtine  sibyl, 
when  he  heard  a  voice  saying,  "  Haec  est  Ara  primo- 
geniti  Dei  ":  "  Thisisthealtar  of  the  Firstborn  of  God." 
He  thereupon  erected  an  altar  upon  the  Capitol,  and 
later  a  church,  which  from  the  xii.  century  was 
called  "  Ubi  est  ara  filii  Dei,"f  a  name  corrupted  into 
Aracoeli.];  This  legend  is  of  Greek  origin,  certainly 
much  anterior  to  the  xiv,  century.  It  is  found  in 
Suidas,§  and  referred  to  in  an  antique  Latin  chronicle 
edited  by  Cardinal  Mai||  ;  it  may  even  be  as  early  as 
the  VII.  or  viii.  century. 

In  any  case,  the  popular  tale  may  be  regarded  as  a 
sort  of  allegory  of  the  transformation  of  the  Capitol  of 
pagan  Rome  into  a  stronghold  of  Christianity.  The 
celebrity  of  the  Capitol  of  the  middle  ages  seems  to 
have  passed  into  the  church  and  monastery  of  Ara 
Coeli.  According  to  Gregorovius,  it  became  the  centre 
of  the  parliamentary  life  of  the  Roman  citizens.  In 
the  great  nave  of  the  church  were  held  their  solemn 
assemblies  and  their  councils,  and  it  was  no  doubt  the 
scene  of  many  of  the  great  gatherings  and  discussions 
of  the  Republican  factions  of  the  middle  ages.  It 
became  indeed,  until  the  xv.  century,  the  "  con- 
sulto "  of  the  Roman  people,  and  was  confirmed  as 
such  by  Eugenius  IV.  in  1445.  The  whole  Capitol 
passed  into  the  hands  of  the  monks  of  Ara  Coeli ;  and 
in  10 1 5  an  Abbot  signs  himself  "  Ego  Dominicus  abbas 
Capitolii." 

It  is  not  known  at  what  date  the  Benedictines  first 

*  Cod.  Sess.,  cclxii.,  p.  ig.  Teuzo  Abb.  ven.  monasterii  S.  Maria 
Dei  genetricis  Virg.  in  Capitolio. 

f  Petrus  Mallius  Abbazie  Romane. 

X  Gregorovius  suggests  "  auro  coelo  "  as  the  origin  of  the  name  ; 
Niebuhr  and  Becker,  that  it  is  derived  from  "in  arce,"  a  more 
likely  explanation. 

§  Hist.  Eccl.,  i.  12. 
Chronicon  Palatinum  nello  Spicil.  rom.,  ix.  118. 


192       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

occupied  the  monastery,  but  in  1250  they  were  re- 
placed under  Innocent  IV.  by  the  Franciscans.  The 
gift  of  the  Capitol  to  the  monastery  is  even  confirmed 
in  the  celebrated  Bull  of  the  Antipope  Anacletus  II. 
in  1 1 30.  When  the  Franciscans  took  possession  of 
Aracceli,  they  decorated  the  tribune  with  mosaics 
destroyed  later  by  Pius  IV. ;  and  in  gratitude  for  the 
escape  of  Rome  from  the  great  pestilence,  described 
by  Boccaccio  in  the  "  Decameron,"  the  Romans  built 

Steps.  the  great  flight  of  steps  leading  to  the  main  entrance 
of  the  church  from  the  piazza  below.  The  materials 
for  these  steps  were  taken  from  the  Temple  of 
Quirinus,  a  gift  of  the  Senate,  and  an  inscription  still 
to  be  seen  near  the   great  doors  records   the   work. 

Fa9ade.  The  decoration  of  the  fa9ade  of  the  church  with 
mosaic  was  also  commenced,  but  unfortunately  never 
finished,  and  with  the  exception  of  a  few  traces  of 
mosaic,  it  still  remains  of  rough  brick  ;  its  sole  orna- 
ment was  a  clock,  which  no  longer  exists.  In  the 
XVI.  century  a  special  office  was  instituted  in  Rome 
for  the  care  of  this  clock,  and  in  the  Archives  of 
Briefs*  a  document  exists  in  which  the  pope  confirms 
the  appointment  of  the  brothers  Domenico  and  Fabio 
della  Pedacchia  to  this  office  ;  the  street  below  Ara- 
cceli still  bears  their  name. 

In  1464  Cardinal  Caraffa  rebuilt  portions  of  the 
church  ;  and  in  1564  the  second  door  from  the  church 
on  to  the  piazza  of  the  Campidoglio  was  opened,  an 
antique  mosaic  of  the  Madonna  with  adoring  angels 
being  placed  above  it. 

Pius  IV.  removed  the  innumerable  sepulchral 
monuments  from  the  body  of  the  church,  and  de- 
stroyed the  choir  which  stood  in  the  centre  of  the 
nave.  After  the  battle  of  Lepanto  the  rich  roof  was 
restored,  and  an  inscription  recording  this  was  placed 
on  the  inside  of  the  main  entrance. 

Interior.         The  church  is  divided  into  a  nave  and  two  aisles  by 
22  columns  of  various  kinds.     On  the  third  column, 
•  Julii,  1601,  fol.  23. 


THE  CHURCHES  IN  ROME  193 

on  the  left,  are  the  -words  in  letters  of  the  Imperial 
period,  "/I  cubiculo  Augustonim,"  which  may  possibly 
be  connected  in  some  way  with  the  legend  of  the 
origin  of  this  church.  The  ancient  pavement  of  green 
and  ophite  porphyry  and  serpentine,  has  been  in 
great  part  retained,  interspersed  with  slabs  of  white 
marble. 

The  first  chapel  to  the  right  on  entering,  the  Bufalini  Chapels 
Chapel,   is  decorated  with   frescoes  by  Pinturicchio,  I.-  on 
representing  scenes  in  the  life  of  S.  Bernardino  da  "§^*- 
Siena,  among  them  the  reconciliation  effected  by  him 
between  the  two  great  rival  families  of  Perugia,  the 
Bufalini  and  the   Baglioni.     Over  the  altar,  S.  Ber- 
nardino preaching  ;  on  the  left,  his  death  and  burial. 
The  four  evangelists  on  the  roof  are  by  Signorelli  and 
Francesco  da  Citta  di  Castello,  Pinturicchio's  pupils. 
The  pavement  of  this  chapel  is  remarkable  for  its  fine 
mosaic.     Pietro  da  Valle  is  buried  just  outside  this 
chapel,  and  in  another  tomb  Michel  Antonio  Salezzo, 
Procurator-general  of  Francis  I.,  who  died  in  Arezzo  in 
1529,    on  his  way  to    succour    Pope    Clement   VII., 
besieged  in  Castel  S.  Angelo. 

The  third  chapel  on  the  right  contains  a  painting  of  m.  on 
S.  Jerome  by  Giovanni    de'  Vecchi ;    in   the  SavelH  right, 
chapel  in  the  right  transept,  is  a  painting  of  S.  Francis, 
by  Trevignano. 

So  great  was  the  fame  of  Ara  Coeli  during  the  middle 
ages,  that  the  great  families  of  Rome  sought  to  be 
buried  in  the  church.  The  Savelli  built  for  themselves 
a  chapel  in  the  xiii.  century,  and  here  are  still  to 
be  seen  some  of  the  monuments  to  their  family — that 
of  Pope  Honorius  IV.,  of  Luca  Savelli  (1266),  of  Pan- 
dolfo  and  Andrea,  his  daughter.  The  monument  of 
Pandolfo  was  designed  by  Giotto,  while  the  lower 
portion  consists  of  a  pagan  sarcophagus  ornamented 
with  bas-reliefs  of  fruits  and  flowers.  Vana  Aldo- 
brandesca,  the  mother  of  Pope  Honorius  IV., -is  also 
buried  here,  and  in  the  choir  Cardinal  Savelli,  1498. 
In  this  church,  also,  are  the  monuments  of  Mariale, 

13 


t94       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


High 
Altar. 


Altar  of 
S.  Elena. 


VIII. 

on  left. 

III. 
II. 


Monas- 
tery. 


Grand  Prior  of  the  Order  of  Malta,  and  of  members 
of  the  AstalH  and  Margani  families,  whose  palaces 
stood  in  the  contrada  at  the  foot  of  the  hill. 

On  either  side  of  the  high  altar  are  the  two  ambones 
from  the  ancient  choir,  removed  here  when  the  latter 
was  destroyed.  They  are  beautiful  examples  of  the 
mosaic  work  of  the  xiii.  century,  and  are  probably 
the  work  of  the  Cosma  family.  Close  by  is  the  tomb 
of  Catherine  Queen  of  Bosnia,  ob.  1478,  and  in  the 
centre  of  the  transept  the  small  temple  known  as  the 
Cappella  Santa  di  S.  Elena,  supposed  to  mark  the  site  of 
the  original  altar  of  S.  Maria.  The  red  porphyry  urn 
beneath  is  said  to  contain  the  relics  of  S.  Helena,  and 
of  SS.  Abbondio  and  Abbondanzio,  martyrs.  The 
original  altar  and  ciborium,  ornamented  by  the  Anti- 
pope  Anacletus  in  11 30,  stood  here  until  the  xvii. 
century,  when  it  was  replaced  by  a  modern  one.  In 
1798  the  little  temple  was  again  destroyed,  and  rebuilt 
as  we  now  see  it.  On  the  wall  of  the  transept  is  the 
tombstone  of  Felice  Freddi,  the  discoverer  of  the 
Laocoon  group.  In  the  chapel  of  the  Madonna,  on 
the  left,  is  the  tomb  of  Crivelh,  Archdeacon  of  Aquitaine, 
by  Donatello. 

In  the  VIII.  chapel  on  the  left,  dedicated  to  S. 
Margaret  of  Cortona,  are  paintings  of  events  in  her 
life  by  Benefiel.  In  the  III.  chapel  the  frescoes  on 
the  roof  are  by  Niccolo  da  Pesaro.  II.  on  the  left  the 
Transfiguration,  by  Girolamo  Sicciolante.  Raphael's 
Madonna  da  Foligno  formerly  stood  over  the  high  altar, 
and  was  removed  to  the  convent  at  Foligno  in  1565. 
In  the  left  transept  is  a  monument,  possibly  by  the 
Cosma  family,  to  Matteo  di  Acquasparta,  General  of 
the  Franciscans  in  1302,  employed  to  deal  with  the 
Florentines  by  Boniface  VIII.,  and  praised  by  Dante. 

The  present  monastery  adjoining  the  church  was  built 
by  Paul  III.  (1534-1550),  who  as  a  rule  inhabited  his 
palace  of  S.  Marco,  now  called  di  Venezia,  beneath  the 
hill.  He  also  constructed  a  covered  way,  joining  his 
palace  to  the  monastery,  and  his  successors  Julius  III. 


THE  CHURCHES  IN  ROME  195 

and  Pius  IV.  used  to  spend  the  hot  months  at  Ara  Coeli. 
Sixtus  V,  finally  gave  over  the  monastery  wholly  to  the 
Franciscans,  who  still  possess  it. 

A  great  portion  is  however  now  being  destroyed, 
including  the  tower  of  Paul  III.,  to  make  room  for  an 
immense  monument  to  Victor  Emmanuel. 

For  an  account  of  the  famous  image  called  the 
"  Bambino,"  which  is  kept  at  this  church,  see  the 
account  of  Christmas  in  Part  II,  Ara  Coeli  is  the 
Municipal  Church  of  Rome. 

S.  ATANASIO,  in  the  Via  Babuino  is  the  church  of 
the  College  for  Greek  Seminarists.  It  was  built  in 
1577  under  Gregory  XIII.,  when  the  college  was 
founded.  The  architect  was  Giacomo  della  Porta. 
The  high  altar  is  divided,  according  to  the  Greek  rite, 
by  an  ikonostasis. 
Feast  day. — May  2. 

s.  ATHAMAsros,  the  wisest  and  though  not  the  most 
learned  the  greatest  of  the  Christian  theologians,  was 
born  at  Alexandria  a.d.  298.  As  deacon  he  was 
present  at  the  Council  of  Nicaea,  of  which  he  was  the 
most  distinguished  member,  and  no  doubt  assisted  in 
formulating  the  Creed  known  as  the  Nicene,  although 
he  was  not  the  author  of  the  later  "  Athanasian  "  creed 
which  goes  by  his  name.  At  that  council  he  opposed 
Arius,  and  at  its  conclusion  was  elected  by  clergy  and 
people  Archbishop  of  Alexandria.  Athanasius  spent 
the  greater  part  of  his  life  persecuted  by  the  emperors 
for  his  opposition  to  Arianism.  In  one  of  his  exiles 
he  visited  Rome,  and  there  knew  Marcella  and 
Fabiola. 

To  a  firmness  which  knew  no  compromise  Atha- 
nasius united  a  discretion  which  made  him  eschew 
useless  danger  when  he  could  better  serve  his  cause 
with  his  life  ;  a  temper  of  mind  foreign  to  his  time. 
By  his  resistance  to  imperial  tyranny,  he  opened  a  new 
epoch  in  the  history  of  the  Roman  empire.  His 
works  are:  Five  Books  against  Arius,  "  The  Divinity 

13—2 


196       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

of  the  Holy  Spirit,"  "  On  the  Incarnation,"  "  A  Letter 
to  the  Solitaries,"  and  "A  Treatise  against  every  De- 
nomination of  Heresy."  The  "  Life  of  Antony"  has 
been  erroneously  ascribed  to  him.  Athanasius  died 
in  373.- 

8.  BALBINA  on  the  Aventine,  is  a  small  and  ancient 
basilica.  It  was  probably  built  under  Gregory  the 
Great  (590-604),  as  its  priests  were  summoned  to  the 
synod  held  in  Rome  in  594  and  to  the  subsequent 
third  synod  under  the  same  pontiff,  but  to  no  previous 
one.  It  is  mentioned  several  times  during  the  pontifi- 
cate of  Leo  III.  (795-816),  who  restored  the  roof.  In 
Giacomo  Valaterrano's  diary  of  Sixtus  IV.  (1471-1484) 
we  learn  that  the  Prior  of  the  annexed  monastery  had 
the  privilege  of  reading  the  Easter  Gospel  in  Greek, 
as  was  then  the  custom,  in  the  Papal  chapel.  The 
original  tower  and  walls  of  the  old  monastery!  still 
remain.  It  is  now  an  orphanage  under  the  care  of 
Franciscan  nuns.  Fragments  of  the  Servian  wall  can 
be  seen  under  the  terrace  in  the  convent  garden,  and 
the  busts  now  in  the  Vatican,  of  Caius  and  Lucius, 
nephews  of  Augustus,  with  some  water-pipes  from 
the  house  of  Q.  Fabius  Cilo,  were  found  close  by  in 
1859. 

The  plain  whitewashed  interior  has  been  twice 
restored  in  this  century.  It  has  a  fine  roof  of  open 
beams,  with  an  inscription  of  Marcus  Balbus,  after- 
wards Paul  II.,  who  restored  it  in  1489.  An  altar 
erected  by  the  same  Pope  in  Old  S.  Peter's  and  de- 
corated with  bas-reliefs  by  Mino  da  Fiesole,  now 
stands  in  the  church  on  the"  right.  To  the  left  is  the 
tomb  of  Stephanus  de  Surdis,  ob.  1300,  richly  de- 
corated with  mosaic  by  Giovanni,  son  of  Cosma.  An 
episcopal  throne,  ornamented  with  the  same  work, 
stands  in  the  raised  tribune. 

The  front  of  the  basilica  facing  the  steep  ascent  of 

*  For  Athanasius,  see  also  Part  III. 
t  See  Ughelli,  Italia  Sacra,  col.  1003 


THE  CHURCHES  IN  ROME  197 

the  Via  di  S.  Balbina,  has  three  fine  wheel  windows. 
Originally  the  church  was  called  S.  Salvatore,  and 
appears  as  SS.  Salvatore  e  Balbina  in  the  xiv.  century,* 
and  again  as  "  S.  Salvatore  della  Balbina." 

Feast  day. — March  31. 

The  Station  is  on  the  2nd  Tuesday  in  Lent. 

SANTA  BALBINA  is  Only  known  as  a  Roman  martyr. 
She  is  said  to  have  suffered  on  March  31  a.d.  130, 
and  to  have  been  the  daughter  of  the  Prefect 
Quirinus.  In  art  she  holds  a  chain  or  fetters,  in 
allusion  to  a  legend  that  she  discovered  the  lost 
chains  of  Peter. 

S.  BARBAEA— In  the  Liber  Pontificalis,  especially  in  the 
viii.  and  IX.  centuries,  are  found  mentioned  several 
churches  dedicated  to  S.  Barbara  in  Rome.  The  only 
one  now  in  existence,  and  which  is  also  one  of  the 
most  ancient,  is  S.  Barbara  in  the  Via  dei  Giub- 
bonari,t  or  cloak-makers,  called  in  the  xv.  century  dei 
Pelamantelli,  or  fur-cloak-makers.  The  church  con- 
tains an  inscription  of  the  xi.  century,  to  the  effect 
that  Giovanni  Crescenzo  de  Roizo,  and  his  wife 
Rogata,  "  for  the  redemption  of  their  souls  renounced 
all  claim  to,  and  released  this  church  from,  their 
patronage,  with  all  its  appurtenances."  This  Giovanni 
Crescenzo  was  Prefect  of  Rome  during  the  first  years 
of  the  XI.  century. 

This  church  was  parochial  until  1594,  when 
Clement  VIII.  granted  it  to  the  guild  of  Litsrarians, 
who  still  possess  it,  adding  the  title  of  their  patron, 
S.  Thomas  Aquinas. 

Martinelli  states  that  this  church  was  called  S. 
Barbara  "  Anglorum,"  but  it  is  not  known  how  or 
when  it  was  possessed  by  the  English. 

Feast  day. — December  4. 


*  Urban  V.  Regesti,  anno  vi.,  ep.  44. 

+  The  cloak-makers  still  have  their  shops  in  this  street,  and 
the  church  is  still  called  "dei  Giubbonari." 


198       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

The  legend  of  s.  babbaea,  only  daughter  of  the  rich 
and  noble  Dioscorus  of  Heliopolis  is  as  follows : 
Her  father  imprisoned  her  in  a  high  tower  to  prevent 
her  being  sought  in  marriage,  and  here  Barbara  spent 
her  time  in  study  and  contemplation.  Hearing  of  the 
fame  of  Origen  and  of  the  new  and  holy  religion  which 
he  taught,  she  sent  to  ask  him  about  his  teaching, 
and  in  reply  he  sent  her  one  of  his  disciples,  by  whom 
she  was  taught  the  Christian  faith  and  baptized.  She 
was  killed  by  the  hand  of  her  own  father  in  his  wrath 
at  her  conversion. 

Her  emblem  is  a  tower.  In  art  she  is  generally 
dressed  in  red  and  crowned  as  a  princess,  and  she  often 
carries  a  book  as  the  emblem  of  her  learning.  She  is  the 
patron  of  soldiers,  and  a  protector  against  sudden  death 
or  death  without  the  sacraments,  this  latter  being 
typified  by  a  chalice  and  Host  held  in  her  hand. 

S.  BAETOLOMEO  ALL'  ISOLA.— This  church  was  erected 
upon  the  ruins  of  the  temples  of  iEsculapius  and 
Island  of  Jupiter,  built  upon  the  island  in  the  Tiber,  B.C.  293. 
the  Tiber.  The  whole  island  was  originally  faced  with  great  blocks 
of  travertine,  and  shaped  to  resemble  a  ship  in  com- 
memoration of  the  celebrated  voyage  of  the  ambas- 
sadors to  Epidaurus,  related  by  Livy.  On  their 
return  bearing  the  statue  of  iEsculapius,  a  serpent  was 
found  in  the  ship,  which  escaped  on  to  the  island.  It 
was  thought  to  be  the  god  ;  hence  the  temple  in  honour 
of  iEsculapius.  Remains  of  the  masonry  can  still  be 
seen  in  the  Franciscan  convent  garden  on  the  island, 
and  fragments  of  the  staff  and  serpent  which  were 
carved  upon  the  ship's  bow. 

The  church  is  not  older  than  the  x.  century,  and 
its  original  dedication  was  to  S.  Adelbert,  Apostle  of 
the  Slavs,  and  to  PauHnus,  the  rehcs  of  these  saints 
having  been  brought  here  by  Paschal  II.  in  11 13,  as 
an  inscription  over  the  door  records. 

It  was  fearfully  damaged  by  the  inundations  of  the 
Tiber  in  1557,  when  the  facade  decorated  with  mosaics, 


THE  CHURCHES  IN  ROME  199 

fell  down,  a  fragment  of  a  figure  of  the  Redeemer, 
with  an  open  book  in  His  hand  alone  remaining,  now 
preserved  in  the  choir  over  the  portico.  The  flood 
also  carried  away  the  confession  and  ciborium,  with 
four  porphyry  columns,  now  in  the  Hall  of  Tapestries 
at  the  Vatican. 

The  church  was  restored  in  11 18  by  Gelasius  H., 
in  1 159  by  Alexander  HI.,  and  rebuilt  under  Gre- 
gory Xni.  by  Cardinal  Santorio,  from  designs  of 
Lunghi  the  elder.  The  work  was  completed  in  1625 
under  Urban  VHL,  a  right  aisle  being  added,  with 
new  portico  fagade  and  roof.  A  Bull  of  Benedict  VHI. 
of  10 1 9  confirms  the  possession  of  this  church  and 
island  to  the  Bishop  of  Porto,  to  whose  diocese 
Leo  IV.  (847)  had  transferred  it. 

The  interior  consists  of  a  nave  and  two  aisles, 
divided  by  fourteen  ancient  columns  of  granite  and 
marble,  with  composite  columns.  These  were  no 
doubt  taken  from  the  temples  of  ^sculapius  and 
Jupiter,  other  fragments  of  which  can  be  seen  lying 
about  in  the  gardens.  Under  the  high  altar  is  a  fine 
urn  of  red  porphyry,  in  which  are  said  to  be  the  relics 
of  the  Apostle  Bartholomew,  of  Paulinus,  Bishop  of 
Nola,  of  Exuperantius  and  Marcellus.  The  font  is  a 
marble  fountain,  or  ptiteal,  of  xiii.  century  Roman 
work,  possibly  by  Vassallectus.  A  chapel  in  the  left 
transept,  built  under  Julius  HI.  (1550),  and  restored 
in  1626,  belongs  to  the  guild  of  millers.  The  third 
chapel  on  the  left  is  decorated  with  frescoes  by  Caracci. 

Feast  day. — August  24  {in  Rome,  25). 

Only    the    name    of   s.  Bartholomew   is    mentioned    in  s.  Bar- 
the  Gospels,  but  there  can  be  little  doubt  that  he  is  tholomew 
the  Nathanael  brought  by  Philip  (John  i.  45).    "  Philip  Apostle, 
and  Bartholomew  "  are  always  enumerated  together. 
Bartholomew  would  then  be  a  surname,  like  Barnabas, 
Peter,   Boanerges,   Justus.     Peter   and   Bartholomew- 
are  the  only  two  Apostles  commended  by  their  Master 
(Matt.  xvi.  17  ;  John  i.  47). 


200       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

According  to  tradition  and  legend,  Bartholomew 
preached  "the  Gospel  according  to  Matthew  "  in  Upper 
India  and  then  in  Greater  Armenia,  where  Polyminus 
the  King  and  his  wife  were  converted.  This  led  to 
the  priests  of  that  people  appealing  to  Astyages,  the 
brother  of  the  King,  who  ordered  that  Bartholomew's 
skin  should  be  flayed  while  he  was  alive,  and  that  he 
should  then  be  beheaded.  He  suffered  in  Albana,  the 
principal  city  of  Armenia,  and  was  there  buried,  a.d.  71. 
The  relics  were  thence  transferred  to  the  island  of 
Lipara,  and  then  to  Beneventum,  where,  after  the 
sack,  Otho  III.  prepared  to  remove  the  Apostle's  body 
to  Saxony.  The  Emperor  died  at  Rome,  on  the  way, 
and  the  relics  were  placed  at  S.  Bartolomeo  all'  Isola. 

His  contribution  to  the  Creed,  according  to  the 
fanciful  legend  which  asserts  that  each  of  the  Apostles 
supplied  one  of  its  clauses,  is,  "  Credo  in  Spiritum 
Sanctum."  In  the  Apostolic  Constitutions  he  makes 
the  constitution  for  the  ordination  of  deaconesses. 

It  was  customary  among  the  Romans  to  keep  his 
feast  for  eight  days  at  this  church,  from  August  24. 

S.  BENEDETTO  IN  PISCINXTLA.— According  to  tradition, 
this  ancient  church  situated  in  the  contrada  of  Piscinula 
in  Trastevere,  was  built  in  an  angle  of  the  house  of 
the  Anici,  from  which  family  S.  Benedict  was  de- 
scended. In  a  visitation  under  Alexander  VII.  (1655) 
it  is  described  as  parochial,  and  at  this  time  the  parish 
numbered  459  souls.  The  church  then  contained 
four  tombs,  which  were  removed  during  the  pestilence 
of  1656.  This  tiny  church  is  still  parochial.  It  con- 
sists of  a  nave  and  two  aisles  separated  by  six  columns 
of  various  marbles.  The  campanile  dates  from  the 
time  of  Camerario  (xiii.  century),  who  describes  the 
church.  To  the  left  on  entering  is  a  little  chapel 
dedicated  to  the  Madonna  containing  a  porphyry  table 
and  an  ancient  marble  altar,  above  which  is  a  picture 
of  the  Madonna  said  to  be  the  same  before  which 
S.  Benedict  prayed. 


THE  CHURCHES  IN  ROME  201 

The  mosaics  of  this  little  chapel  have  been  more 
than  once  repaired  by  successive  rectors  of  the  parish. 
The  door  leading  from  the  chapel  into  the  church 
is  said  to  date  from  the  time  of  the  saint.  The  church 
has  an  ancient  and  extremely  uneven  pavement  of 
mosaic,  and  above  the  high  altar  is  a  picture  of 
S.  Benedict. 

Feast  day. — March  21. 

For  an  account  of  S.  Benedict,  see  Part  III.  which  deals  with 
the  monastic  orders. 

S.  BERNARDO,  in  the  piazza  of  the  same  name.  The 
ground  upon  which  this  church  now  stands,  with 
a  circular  building  upon  it  said  to  have  been  the 
"  calidarium  "  of  the  baths  of  Diocletian,  was  bought 
by  Caterina  de  Sforza,  Countess  of  Santa  Flora,  from 
Cardinal  Bellay,  and  the  building  was  transformed  into 
a  church  in  the  year  1598.  In  the  following  year  she 
gave  the  church  to  the  Cistercian  monks  of  the 
Feuillants  order,  founding  and  endowing  a  monastery 
for  them,  and  in  1600  the  church  was  dedicated  to 
S.  Bernard.  Under  this  name,  the  building,  with  its 
beautiful  roof,  has  been  preserved  with  fortunately 
little  alteration. 

Caterina  Sforza  died  in  161 2,  and  was  buried  in  the 
church  with  other  members  of  her  family.  Cardinal 
Passioni,  librarian  of  the  Vatican,  and  Cardinal  Bona, 
the  Piedmontese  liturgist,  are  also  laid  in  the  church. 

Feast  day. — August  20. 

For  S.  Bernard,  see  Part  III.,  dealing  with  monastic  orders. 

8.  BIAGIO  DE  CANTU  SECTTT&,  popularly  called  della 
Pagnotta,  is  situated  at  the  extreme  end  of  the  Via 
Giulia.  The  name  of  this  exceedingly  ancient  church 
has  given  rise  to  much  discussion.  The  most  satis- 
factory explanation  of  the  term  cantu  secuta,  given  in 
almost  every  variety  of  form,  is  that  it  is  a  corrup- 
tion of  "  ^  caput  seccuta,"  "  seccutta"  being  the  popular 
name  during  the  xiii.  century  for  the  whole  of  the 


202       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

riverside  now  occupied  by  the  Via  Giulia,  owing  to 
an  exceptional  deposit  of  river  sand.  Even  to-day, 
one  of  the  small  adjoining  streets  is  called  "  Via  del 
Polverone."  The  popular  name,  "  della  Pagnotta," 
arises  from  the  ancient  custom,  still  observed  at  this 
church,  of  distributing  little  pieces  of  blessed  bread  in 
the  form  of  an  "  agape  "  on  the  feast  day  of  the  saint, 
February  3, 

This  church  is  many  times  mentioned  in  the 
catalogues  of  the  middle  ages,  when  it  was  annexed 
to  one  of  the  largest  abbeys  of  Rome.  An  inscription 
in  the  interior  of  the  church  states  that  it  was  rebuilt 
at  the  expense  of  one  of  the  abbots  of  the  monastery, 
by  name  Domenico,  on  the  loth  day  of  August, 
1072, 

In  the  "  stato  temporale  "  of  the  churches  of  the 
latter  half  of  the  xvii.  century,  it  is  described  as  built 
upon  a  temple  of  Neptune. 

The  parish  of  S.  Biagio  was  transferred  to  the 
Vatican  in  143 1.  In  1836  Gregory  XVI.  transferred 
to  it  the  Armenians  from  S.  Maria  Egiziaca,  who 
to-day  officiate  in  their  own  rite.  The  relics  of  S. 
Biagio  kept  in  the  church  were  moved  to  S.  Peter's  by 
Eugenius  IV.  The  fa9ade  is  modern.  The  adoring 
angels  in  the  interior  were  executed  by  Pietro  da 
Cortona  when  very  young. 

Feast  day. — February  3. 

8.  BIAGIO  (S.  Blaise)  was  Bishop  of  Sebaste  in 
Cappadocia.  During  the  Diocletian  persecutions,  he 
fled  for  safety  to  a  mountain  cave,  where  the  wild 
animals,  subdued  and  tamed  by  his  gentleness,  came 
every  day  to  visit  him.  Here  surrounded  by  wild 
creatures,  he  was  found  by  the  Emperor's  hunters, 
and  was  bound  and  taken  before  the  Governor.  On 
the  way  he  cured  a  child  strangled  with  a  fish  bone, 
which  incident  has  given  rise  to  his  being  regarded  as 
the  patron  of  throat  diseases.  S.  Biagio  was  tortured 
by  having  his  flesh  torn  with  iron  combs,  and  finally 
his  head  was  struck  off".     He  is  represented  in  art  as 


THE  CHURCHES  IN  ROME  203 

an  old  man,  dressed  as  a  bishop,  and  with  an  iron  comb 
beside  him.  He  is  also  the  patron  of  wool  combers. 
This  quaint  reason  for  determining  a  saint's  patronage 
of  a  trade  may  often  be  noticed  in  hagiography. 

S.  BIBIANA  is  a  little  church  situated  in  the  region 
between  the  Porta  San  Lorenzo  and  the  Porta  Mag- 
giore.  Its  origin  is  attributed  to  Olympia  Flaviana  a 
Roman  matron  of  the  iv.  century,  but  it  was  more 
probably  built  under  Pope  Simplicius,  and  we  learn 
from  the  Liber  Pontificalis,  was  consecrated  by  him 
in  467. 

About  the  year  682,  the  bodies  of  the  saints  Sim- 
plicius, Faustinianus  and  Viatrix  were  transferred 
to  the  church  from  the  catacomb  of  Generosa  ;  but  a 
metrical  inscription  reproduced  by  De  Rossi*  gives 
SS.  Eufrosia,  Bibiana,  and  Simplicius  as  three  martyrs 
deposited  here  by  Leo  IL  The  marble  urn  containing 
the  relics  of  these  saints  is  now  in  the  canons'  palace 
of  S.  Maria  Maggiore. 

Honorius  IIL,  in  1220,  built  or  rebuilt  a  monastery 
attiguous  to  the  church,  of  which  no  trace  now 
remains.  It  was  occupied  by  nuns  from  the  xiii. 
to  the  XV,  century.  On  the  outside  of  the  church 
some  fragments  of  painting  still  remain,  fast  disappear- 
ing from  the  effects  of  weather,  among  which  the 
portrait  of  a  pope  can  be  distinguished  —  probably 
that  of  Honorius  III.,  and  so  described  by  Millini.f 
Urban  VIII.  had  the  church  restored  and  remodelled 
by  Bernini  who  designed  the  fa9ade,  and  executed 
the  figure  of  S.  Bibiana  at  the  high  altar.  In  the  in- 
terior are  8  ancient  columns,  two  of  marble  with 
Corinthian  capitals,  the  others  of  granite.  On  the 
right  of  the  nave  are  frescoes  representing  events  in 
the  life  of  S.  Bibiana,  by  Agostino  Ciampelli  ;  those 
on  the  left,  by  Pietro  da  Cortona.  In  an  alabaster 
sarcophagus   under  the  high   altar   are   the  relics  of 

*  Iiiscr.  Christ.,  tome  i.,  v.  167. 

t  Storia  delle  Chiese  di  Roma,  p.  260. 


204       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

S.  Bibiana,  and  near  the  door  is  the  stump  of  a  column, 
against  which  it  is  said  she  was  beaten  to  death.  The 
altar  of  the  martyr  S.  Simplicius  was  decorated  by 
an  abbess  of  the  adjoining  convent  in  the  xiii.  cen- 
tury, as  an  inscription  records,  now  no  longer  decipher- 
able. 

Other  monuments  to  the  nuns  of  the  convent  are 
unfortunately  no  longer  in  existence. 

Feast  day. — December  2. 

The  Station  is  on  the  5th  Friday  in  Lent. 

s.  BIBIANA  was  a  noble  Roman  girl,  martyred  with 
her  mother  Dafrosa,  her  father  Flavianus,  and  her 
sister  Demetria,  under  Julian  the  Apostate  in  a.d.  362. 
Bibiana,  rejecting  all  the  attempts  made  to  force  her 
to  renounce  her  faith,  was  bound  to  a  column  in  a 
public  place  and  flogged,  and  finally  pierced  with  a 
dagger.  The  frescoes  on  the  walls  of  the  church 
represent  the  refusal  of  Bibiana  to  sacrifice  to  idols, 
her  martyrdom,  the  death  of  Demetria,  Bibiana's  body 
being  watched  by  a  dog,  and  the  church  being  built 
by  Olympia.  Between  these  are  pictures  of  Olympia 
and  the  other  martyrs.  S.  Bibiana  is  patron  of  Seville, 
and  in  Germany  "  des  buveurs,"  "  of  drinkers." 

S.  BONAVENTURA  DELIA  POLVEEIEEA,  a  small  church 
beautifully  placed  on  the  Palatine,  and  reached  by  a 
road  which  winds  from  the  arch  of  Titus.  Placed 
along  the  last  portion  of  this  road  are  the  stations  of 
the  cross.  The  church  was  built  by  Cardinal  F. 
Barberini  in  1625,  and  has  been  recently  restored.  It 
and  the  annexed  convent  belong  to  the  Reformed 
Franciscans  of  S.  Peter  of  Alcantara.  Near  by  is 
the  gate  to  the  convent  of  the  Visitation,  the  only 
building  which  still  remains  on  the  Palatine  and  which 
occupies  the  area  of  the  house  of  Augustus.  Beneath 
the  altar  is  the  body  of  S.  Leonard  of  Port  Maurice. 

Feast  day. — July  14. 

For  S.  Bonaventura,  see  Part  III.,  dealing  with  religious 
orders. 


THE  CHURCHES  IN  ROME  205 

S.  CALLISTO. — This  church  in  the  Trasteverian  region,  g  ^^1. 
is  found  mentioned  as  early  as  a.d.  594.  It  originated  listo. 
in  one  of  the  houses  Avhere  Christians  congregated  in 
the  years  of  persecution ;  and  here  is  shown  the  well 
in  which  the  body  of  Callistus  was  thrown.  The  Liber 
Pontificalis  states  that  Gregory  III.  restored  the  church 
in  740,  and  decorated  it  with  frescoes,  still  visible  in 
the  time  of  Severano.  Annexed  to  the  church  is  a 
monastery  of  Cassinese  Benedictines,  removed  here 
from  the  Quirinal  by  Paul  V.  (1605 — 1621)  to  allow  of 
additions  to  his  palace.  This  Pope  also  rebuilt  the 
monastery,  formerly  the  palace  of  Cardinal  Moroni, 
and  restored  the  church. 

Feast  day. — October  14. 

cALLisTUB  was  deacou  to  Zephyrinus,  and  a  Roman. 
Little  was  known  of  him,  except  the  important  fact 
that  he  gave  his  name  to  the  great  Papal  cemetery  on 
the  Via  Appia,  of  which  his  predecessor  had  made  him 
administrator  (a.d.  203-220).  Some  strong  opposition 
to  him  is  obvious  in  Tertullian,  and  Hippolytus  had 
disagreed  with  his  doctrine  of  the  Trinity ;  but  on  the 
other  hand  Julius  I.  (340),  the  host  of  Athanasius,  and 
the  opponent  of  Sabellianism,  dedicated  a  church  in 
his  honour,  and  the  memory  of  Calhstus  as  a  martyr 
was  much  revered  in  the  early  Church.  According 
to  the  tradition,  he  was  killed  in  a  tumultuous  rising 
against  the  Christians,  being  thrown  out  of  a  window 
of  his  house  in  Trastevere — a  site  known  as  Area 
Callisti — and  his  body  cast  into  a  well.  This  was 
afterwards  recovered  and  buried  in  the  catacomb  of 
Octavilla  on  the  Via  Aurelia.  But  in  1851  the  publica- 
tion of  the  Philosophumena,  dealing  with  the  questions 
of  discipline  and  faith  agitated  in  the  Christian  Church 
at  the  opening  of  the  in.  century,  gave  rise  to  a 
whole  literature,  and  threw  an  unpleasing  light  on  the 
times  and  especially  on  the  character  of  Callistus. 
The  Philosophumena  were  written  about  a.d.  234,  after 
the  death  of  the  Pope.  They  represent  him  as  a  run- 
away slave ;  give  an  account  of  his  having  engaged  in 


2o6       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

banking,  failed,  and  fled  his  creditors ;  say  that,  on  his 
return,  Pope  Victor  (193-203)  was  by  no  means  glad 
to  see  him  ;  and  stigmatize  him  as  a  Sabellian.  The 
tone  of  the  author  is  so  hostile  as  to  awake  suspicion. 
Callistus  was,  in  fact,  "  the  son  of  Domitius,"  and  his 
father  may  have  been  a  libertus  of  the  Gens  Domitiana. 
Callistus  may  have  failed  without  being  fraudulent. 
There  appears  to  be  no  evidence  of  his  favouring  the 
The  moral  Sabellians.  And  finally,  in  the  moral  questions  which 
and  dog-  disturbed  his  day  Callistus  may  have  been  on  the 
^estions  ^^^^^^  side,  and  the  author  of  the  Philosophumena  on 
of  his  day.  the  wrong.  The  question  of  the  lapsed,  and  of  grave 
sinners,  we  have  seen  in  other  places  was  met  by 
Zephyrinus  and  Callistus  in  a  broad  and  merciful 
spirit,  congenial  to  the  traditions  of  the  Roman  pontiffs, 
but  failing  to  meet  the  views  of  rigorists,  and  of  a 
millennialism  fast  passing  away.  On  the  question  of 
the  evil  life  of  the  clergy  [pessimcB  conversationis),  Cal- 
listus was  anxious  that  the  Church  should  be  held 
uncontaminated,  and  the  ministrations  of  the  bishops 
valid,  until  they  were  manifestly  convicted  of  their 
crimes.  On  the  dogmatic  question  the  popes  of  that 
time,  though  in  no  sense  monarchicists — i.e.,  ready  to 
identify  the  Father  and  the  Son — were  careful  not  to 
give  countenance  to  the  violent  opponents  of  Sabel- 
lianism,  who  easily  degraded  their  doctrine  into  a 
tritheism.  The  law  of  the  Twelve  Tables  had  for- 
bidden patricians  and  plebeians  to  intermarry.  Cal- 
listus permitted  it.  Tertullian  and  the  Montanists 
canvassed  the  permission  hotly,  refusing  to  recognise 
these  occulta  conjunctiones,  while  Hippolytus  asserted 
that  the  permission  to  marry  below  one's  own 
degree,  whether  slave  or  free,  led  to  crime.  They 
were  marriages  not  recognised  by  the  civil  law  of 
the  time,  and  therefore  void  except  before  the  Chris- 
tian Church. 

The  author  of  the  Philosophumena  does  not  allude 
to  Callistus'  martyrdom.  He  does  indeed  say  that 
Callistus  "  martyrised  in  the  following  way,"  but  this 


THE  CHURCHES  IN  ROME  207 

is  followed  by  the  scandalous  story  above  related,  and 
reference  to  a  subsequent  exile  for  his  religion. 
Perhaps  the  chief  light  thrown  by  the  Philosophumena 
— that  extraordinary  discovery — is  not  on  the  character 
of  Callistus,  nor  on  the  dogmatic  view^s  of  popes,  but 
on  the  acrid  controversies  possible  between  the  greatest 
Christians,  and  the  corruption  among  clergy  and  laity, 
at  this  period ;  and  also  on  the  early  rise  of  the  odium 
theologicum  which  we  find  rampant,  even  in  the  West, 
at  the  end  of  the  11.  century  ! 

S.  CABLO  AL  CORSO,  dedicated  to  SS.  Ambrogio  e 
Carlo,  the  Lombard  saints.  This  large  church  was 
built  by  the  Lombards  in  the  xvii.  century.  Its 
architects  were  the  Lunghi,  father  and  son.  The  large 
cupola,  tribune,  and  high  altar  are  due  to  Pietro  da 
Cortona.  The  interior,  completed  in  16 14,  consists 
of  a  nave  and  aisles,  with  3  chapels  on  either  side. 
It  is  ornamented  with  rich  marbles  and  gilding.  The 
picture  over  the  high  altar  of  S.  Carlo  in  glory  with 
SS.  Ambrose  and  Sebastian,  is  by  Maratta.  Round 
the  choir  is  an  ambulatory,  with  open  arches  looking 
on  to  it,  a  form  rare  in  Rome,  but  resembling  the 
cathedral  at  Milan.  The  heart  of  S.  Charles  Borromeo 
is  preserved  behind  the  high  altar, 

S.  CARLO  ALLE  QUATTBO  FONTANE  (S.  CARLINO). — This 
little  church  was  built  by  the  Spanish  discalced  Trini- 
tarians in  1640,  who  still  possess  it.  It  is  the  work  of 
Borromini,  and  is  oval  in  shape,  with  8  Corinthian 
pillars  on  each  side.  Over  the  high  altar  is  a  picture 
of  S.  Charles  Borromeo.  In  this  church  is  the  monu- 
ment to  that  Casimir  Denoff  who  was  sent  by  John 
Sobieski  to  Innocent  XI.  concerning  the  liberation  of 
Vienna.  The  annexed  convent  is  the  residence  of  the 
Council  General  of  the  Spanish  Trinitarians. 

Feast  day. — November  4. 

For  S.  Charles  Borromeo,  see  Part  111.  dealing  with  religious 
orders. 


2o8       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

S.  CATEEINA  MAGNANAPOLI.— This  church,  dedicated 
to  S.  Catherine  of  Siena,  was  built,  with  the  annexed 
convent,  for  Dominican  nuns  in  the  xvii.  cen- 
tury. The  convent  was  originally  the  palace  of  the 
Princes  Conti,  of  which  the  great  tower  delle  Milizie 
was  part,  and  which  covered  all  the  ground  now 
occupied  by  the  Magnanapoli  and  the  Hotel  Laurati. 
Some  ruins  called  Balnea  Pauli,-'-  mentioned  in  the 
"  Visitations"  of  Alexander  VII.,  existed  on  this  ground. 
A  portion  of  the  convent  was  destroyed  by  Sixtus  V. 
to  make  room  for  the  new  street  leading  from  the 
Forum  of  Trajan  to  the  Quirinal  Hill.  The  church, 
of  one  single  nave,  is  rectangular  in  form,  and  is 
approached  by  steps  and  a  portico.  At  the  high  altar 
is  a  statue  of  S.  Catherine  of  Siena,  attributed  to 
Bernini. 

For  S.  Catherine  of  Siena,  see  Part  III.  of  this  handbook. 

S.  CECILIA  IN  TEASTEVERE.— This  basiUca  consecrated 
to  the  memory  of  S.  Cecilia,  had  its  origin  as  early  as 
230,  during  the  pontificate  of  Urban  I.,  and  from  the 
v.  century  it  is  mentioned  as  one  of  the  most  ancient 
titular  churches  in  the  city.  In  545  an  account  is 
given  in  the  Liber  PontificaHs,  of  Pope  Vigilius  being 
surprised  and  attacked  by  an  emissary  of  the  Empress 
Theodora  sent  from  Constantinople,  while  he  was 
celebrating  the  feast  of  S.  Cecilia  in  her  church. 
Stephen  III.  was  titular  of  this  basilica  before  his 
election  as  pope,  and  lived  in  a  house  close  by  (768). 
Restora-  We  first  learn  of  this  basilica  being  restored  in  the 
tions.  IX.  century  by  Pope  Paschal  to  receive  the  body  of 
S.  Cecilia.  It  was  again  restored  in  1283,  and  the 
present  altar  and  confession  built  by  Arnolfo  the 
Florentine.  New  restorations  which  greatly  altered 
its  old  character  were  made  in  1599,  when  the  marble 
pillars  of  the  gallery  were  walled  in  by  Cardinal 
Sfondrato,  nephew  of  Gregory  XIV. ;  but  the  ancient 
columns  of  the  nave  remained  intact  until  1823,  when 
*  From  which  we  get  Bagnanapoli,  MagnanapoH. 


THE  CHURCHES  IN  ROME  209 

Cardinal  Giorgio  Doria,  titular  of  the  church,  fearing 
their  strength  insufficient  for  the  wall  above,  enclosed 
them  in  the  present  pilasters. 

Nevertheless,  the  church  retains  much  of  its  ancient 
character.  It  is  approached  by  an  atrium  or  outer  Atrium, 
court ;  the  marble  urn  or  cantharus,  which  formerly 
stood  in  the  centre  of  this,  is  still  preserved  on  the 
right  hand  side.  The  narthex  or  portico  next  the 
church  consists  of  four  antique  Ionic  columns  and  two 
pillars  with  Corinthian  capitals.  On  the  entablature 
above  these,  are  rough  ix.  century  mosaics,  and  over 
each  pillar  medallion  portraits  of  the  saints  whose 
relics  Paschal  I.  deposited  in  the  church;  one  of  S. 
Cecilia  being  on  either  side  of  the  central  cross.  The 
walls  of  the  atrium  were  originally  decorated  with 
frescoes  representing  scenes  in  the  life  of  S.  Cecilia, 
probably  of  the  xiii.  century.  Fragments  of  these 
still  remain,  removed  to  the  interior  of  the  church. 

The  tribune  is  raised  above  the  level  of  the  nave,  and  Mosaics  of 
is  still  decorated  with  mosaics  of  the  time  of  Paschal,  apse, 
(ix.  century),  as  the  inscription  in  the  apse  records. 
These  mosaics  are  of  the  same  date  as  those  in  S. 
Maria  in  Domnica.  They  represent  the  Saviour, 
between  S.  Paul,  S.  Agata,  and  Pope  Paschal  on  the 
one  side,  the  last  wearing  the  square  nimbus ;  on  the 
other,  S.  Peter,  S.  Cecilia,  with  Valerian  her  husband 
between  them.  Above,  a  hand  holds  out  a  wreath  ; 
below  is  the  lamb  and  the  12  sheep.  The  mosaics, 
barbarous  in  style,  are  probably  by  a  Byzantine 
artist.  Over  the  high  altar,  which  is  the  work  of 
Arnolfo  (1283),  is  a  marble  canopy  upon  4  columns 
of  Egyptian  marble.  Beneath  is  the  confession  of  the 
saint,  and  the  beautiful  marble  figure  of  Cecilia  by 
Stefano  Maderno.  In  the  tribune,  is  an  ancient 
episcopal  chair,  and  a  spiral  mosaic  candelabrum. 
This  portion  of  the  church  has  been  the  least  altered 
since  the  ix.  century.  Here  is  Guido  Reni's  mar- 
tyrdom of  Cecilia.  The  roof  of  the  nave  has  been 
decorated    by   Sebastian    Conca.      On   entering   the 


2IO       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

church,  to  the  right,  is  the  tomb  of  Adam  Hertford, 
an   EngHsh  prelate,  and  titular  of  this  church,  who 
narrowly  escaped  being  put  to  death  by  Urban  VI. 
(1378-1389)  at  Genoa,  owing  to  his  opposition  to  that 
pope.     The  arras  of  England  are  upon  the  monument. 
Second       The  second  chapel  on  the  right,  that  of  S.  Cecilia, 
chapel  on  formed  part  of  the  original  house  ;  traces  of  a  furnace 
the  right,   ^^^  q£  ig^den  pipes  can  still  be  seen  in  the  walls, 
Cecilia       showing  it  to  have  been  part  of  the  bath  room.     The 
altarpiece  of   S.   Cecilia  in  this  chapel   is  by  Giulio 
Romano,   and  the  landscapes  by   Paul  Brill ;  in  the 
vestibule  is  a  picture  of  Cecilia  and  Valerian  with  the 
angel,  by  Domenichino.*     The  chapel  on  the  right  of 
the  high  altar  contains  the  ancient  painting,  from  the 
atrium,  of  the  apparition  of  S.  Cecilia  to  Paschal.     A 
XV.  century  bas-relief  of  the  Madonna  and  Child,  from 
here  has  recently  been  replaced  on  the  Fortiguerra  monu- 
ment (left  of  entrance).     In  the  vault  of  the  sacristy 
are  paintings  of  the  4  Evangelists,  by  Pinturicchio. 
Monas-  The   adjoining   monastery,    built    by    Paschal    "  in 

^^'■y-  honour  of  the  holy  virgins  and  martyrs  Agatha  and 

Cecilia,"  was  long  occupied  by  Benedictine  monks,  and 
then  by  the  Umiliati  order,  till  Clement  VI I.  gave  it 
in  1530  to  the  Benedictine  nuns,  who  still  hold  it. 

Feast  day. — November  22. 

The  Station  is  on  the  3rd  Wednesday  in  Lent. 

s.  CECILIA  is  one  of  the  most  beautiful  figures  in 
early  hagiography,  and  one  of  the  most  important 
members  and  martyrs  of  the  infant  Church.  Her 
influence  on  Valerian  and  Tiburtius,  two  nobles  of  the 
Gentile  world,  was  unheard  of  before  Christianity,  and 
made  an  epoch  memorable  in  its  development  in  Rome. 
Cecilia,  a  member  of  the  great  Roman  family  of  the 

*  "  Valirian  goth  home,  and  fint  Cecilie 

Withinne  his  chambre  with  an  aungel  stonde. 
This  aungel  had  of  roses  and  of  lilie 

Corounes  tuo,  the  which  he  bar  in  honde." 

Chaucer,  Secounde  Nonnes  Tale. 
This  incident  was  introduced  into  the  story  by  Chaucer. 


THE  CHURCHES  IN  ROME  211 

Cecilii,  who  had  their  sepulchres  on  the  Via  Appia 
from  the  time  of  Augustus,  and  a  Christian  sepolcreto 
adjacent  to  Lucina's  crypts  as  early  as  the  11.  cen- 
tury of  our  era,  was  brought  up  a  Christian  ;  and  has 
been  supposed  to  have  suffered  during  the  pontifi- 
cate of  Urban  {circa  230),  from  the  following  events  in 
her  life  •.■■'  She  was  beloved  by  Valerian,  and  married 
to  him.  But  she  told  him  she  had  an  angel  who  loved 
her,  and  with  exceeding  watchfulness  guarded  her. 
"  Est  secretum,  Valeriane,  quod  tibi  volo  dicere:  Ange- 
lum  Dei  habeo  amatorem,  qui  nimio  zelo  custodit 
corpus  meum."  Valerian  desired  to  see  the  angel,  and 
Cecilia  replied  that  he  could  not  see  it  unless  he  were 
baptized  ;  and  moved  by  curiosity  to  see  the  angel, 
Valerian  said  he  was  ready  to  be  baptized. 
.  She  therefore  sent  him  to  Urban  the  bishop,  "  who 
lay  hidden  in  the  sepulchres  of  the  martyrs  on  the 
Via  Appia,  on  account  of  the  persecution."  Giving  the 
appointed  signal,  he  was  taken  to  Urban,  who  baptized 
him  ;  and  returning  to  Cecilia  and  praying  with  her,  he 
saw  the  angel  who  kept  her.  CaUing  his  brother 
Tiburtius,  in  his  astonishment,  he  in  his  turn  was 
taught  the  faith  by  Cecilia,  and  being  baptized,  also 
saw  her  angel.  "  To-day,"  she  exclaimed,  "  I  have 
made  you  my  brother,  since  the  love  of  God  has  made 
you  despise  idols.  As  the  love  of  God  has  made  thy 
brother  my  husband,  so  has  it  made  thee  my  brother." 
This  beautiful  story  is  told  by  Chaucer  in  his  "  Second 
Nonne's  Tale." 

Both  Valerian  and  Tiburtius  suffered  martyrdom 
with  great  constancy  a  little  while  after  under  the 
Prefect  Almachius.  "  We  believe,"  they  said,  "that 
Christ  the  son  of  God  is  truly  God,  who  elected  for 
Himself  such  a  Servant  as  Cecilia."  The  Prefect  then 
ordered   Cecilia   herself  to   be   apprehended.     Being 

*  The  Acta  S.  Cecilia  must  have  been  compiled  in  the  iv. 
or  V.  century,  but  not  later  than  this,  frequent  allusions  to 
them  being  made  in  the  prayers  of  Popes  Leo  and  Gelasius 
(440  and  492). 

14—2 


212       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

asked  her  name,  she  answered,  "  Cecilia  among  men  ; 
but  what  is  much  more  distinguished,  I  am  a  Christian." 
He  inquired  of  her  where  the  wealth  of  her  husband 
and  of  Tiburtius  was  to  be  found,  Cecilia  responded 
that  she  had  given  it  all  to  the  poor.  Enraged  at  this 
answer  he  ordered  that  she  should  be  taken  back  to 
.  her  house,  and  burnt  in  the  heating-room  attached  to 
the  bath.  But  remaining  there  a  day  and  night  un- 
harmed, an  executioner  was  sent,  who  struck  three 
blows  at  her  neck  and  left  her  half  dead.  Cecilia  lived 
for  three  days,  exhorting  those  round  her,  and  then 
gained  the  double  palm  of  the  pure  and  those  "  faithful 
unto  death." 
Date  of  The   martyrologies,   as   we   have   seen,   place   this 

her  martyrdom  in  the  time  of  Pope  Urban,  i.e.,  227-233, 

martyr-      circa.    But  in  the  martyrology  of  Ado,  while  the  bishop. 
°"^'  is  called   Urban,  it  is  stated  that   Cecilia  died  under 

Aurelius  and  Commodus  (161- 180),  with  no  explana- 
tion of  the  discrepancy.     It  has  now  been  ascertained 
beyond  doubt,  that  the  actual  date  of  her  martyrdom 
was  during  the  reign  of  Marcus  Aurelius  and  Com- 
modus—  that  is,  about  the  year  a.d.   177,  the  year 
in  which  Irenceus  also  sufiFered.     The  bishop  Urban  of 
her  story  was,  then,  a  bishop  for  the  country  district 
of  the  Via  Appia,  of  whose  movements,  as  he  lay  hidden 
under  her  own  property,'''  Cecilia  would  be  aware. 
Resting-         The  Itineraries  tell  us  that  Valerian  and  Tiburtius 
place  of      lay  in  the  cemetery  of  Pratextatus  close  by  ;  and  the 
these  relationship  between   the    Cecilii   and  Praetextati   re- 

martyrs,  ceives  confirmation  from  a  tomb  which  lies  near 
that  of  Cecilia,  and  which  is  that  of  a  Praetextatus 
Cecilianus.  Pope  Paschal,  in  the  early  ix.  century, 
dreamed  of  the  spot  where  Cecilia  lay,  and  thus 
discovered  her  tomb  in  the  catacomb.  When  it 
was  opened  in  the  xvi.  century,  the  body  was 
seen  by  the  sculptor  Maderno  lying  just  as  he  has 
represented  it  in  the  beautiful  statue  in  her  church — 
that  church  on  the  site  of  her  dwelling  which  she  had 
*   Vide  the  catacomb  "  of  CalUstus,"  ch.  x. 


THE  CHURCHES  IN  ROME  213 

always  desired  might  be  consecrated  as  such.*  The 
Christians  had  buried  her  just  as  she  lay  on  the  floor 
of  the  Bath  in  her  house  for  those  three  days.  It  is 
interesting  to  learn  that  De  Rossi  has  himself  assisted 
at  the  translation  of  a  body  from  the  catacombs  on 
the  Appia  to  a  church  three  miles  distant,  without  the 
displacement  of  a  single  member.  The  remains  of 
Cecilia  were  however  at  this  second  opening  in  the 
XVI.  century,  at  once  affected  by  the  action  of  the 
air. 

Cecilia  is  considered  the  heavenly  patron  of  music  ;  Patron  of 
to  her  being  legendarily  attributed  the  invention  of  the  music, 
organ.     She  is  represented  with  a  little  organ  in  her 
hand,  richly  dressed,  and  with  the  martyr's  palm.     On  The  ves- 
the    Eve   of   her   feast,  and  on  the  feast   day  itself,  P^^s  of  her 
(November  21  and  22)  the  antiphon  to  the  first  Psalm  ®^^*' 
of  Vespers   is   sung   with   great   solemnity  after   the 
Psalm.   The  words  are :"  Cantantibus  organis,  Caecilia 
Domino  decantabat,  dicens :  Fiat  cor  meum  et  corpus 
meum  immaculatum  ut  non  confundar  "  (Playing  on 
the  organ,  Cecilia  sang  thus  to  the  Lord  :  May  my 
heart  and  body  be  immaculate,  that   I  may  not  be 
confounded).     On  the  morning  of  November  22  there 
is  solemn  high  mass.     On  the  eve  the  Cardinal  Titular 
(Rampolla)  assists,  and  celebrates  Mass  on  the  feast- 
day. 

S.  CESAEEO  IN  TTIBRIM,  at  the  bifurcation  of  the  Appia 
and  Via  Latina,  probably  deriving  its  name  from  some 
mediaeval  tower  now  destroyed,  is  a  small  and  ancient 
church  which  has  often  been  confused  with  S.  Cesareo 
in  Palatio,  and  is  still  so  called  in  most  guide-books. 
The  Abbe  Duchesne  has  however  proved  the  two 
churches  to  be  distinct.  S.  Cesareo  in  Palatio  no 
longer  exists.  Both  churches  had  annexed  monas- 
teries of  Greek  monks.  S.  Cesareo  in  Turrim  is  an 
old  diaconate.  It  was  restored  under  Clement  VIII., 
who  gave  it  to  the  Somaschi  Fathers  of  the  Clemen- 
*  See  supra . 


214       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

tine  college  he  had  instituted.  It  has  been  again 
restored  of  late  years,  so  that  Httle  remains  of  its 
ancient  form.  It  still  possesses  a  raised  presbytery 
with  marble  screen,  dating  from  the  middle  ages  ;  a 
marble  pulpit  with  spiral  columns  decorated  with 
carving  and  mosaic ;  and  an  ancient  episcopal  throne 
in  the  tribune.  The  tribune  mosaics  are  by  Cav. 
D'Arpino. 
Feast  day. — November  i. 

Little  is  known  of  s.  cesario.  He  has  been  much 
venerated  from  the  vi.  century,  both  in  East  and 
West,  and  was,  it  seems,  martyred  at  Terracina  for 
his  opposition  to  the  worship  of  Apollo.  He  was  in 
deacon's  orders.     His  body  Hes  in  S.  Croce. 

S.  CLATJDIO. — This  church,  in  the  Piazza  S.  Claudio, 
was  built  by  the  Burgundians  in  the  last  century.  It 
is  dedicated  to  S.  Claudio  and  S.  Andrea  their  patrons. 
S.  Claudio  has  been  for  some  years  administered  by 
the  fathers  of  the  "  Perpetual  Adoration." 

Feast  day. — June  6. 

cLATjDiirs  was  a  bishop  of  Besan^on,  and  is  much 
venerated  in  France. 

S.  Cle-  S.  CLEMENTE. — The  history  of  this  church,  one  of  the 

mente.  most  interesting  in  Rome,  takes  us  back  almost  to 
History.  Apostolic  times.  It  is  mentioned  by  Jerome  in  his 
De  viris  illustribus  about  385,  as  even  then  most  ancient. 
Signor  Armellini*  relates  that  Lelio  Pasqualini,  a  con- 
temporary of  Baronius,  possessed  a  bronze  plate  from 
the  collar  of  a  slave,  bearing  an  inscription  to  the  effect 
that  if  caught  the  slave  was  to  be  returned  to  one 
Victorius,  an  acolyte  of  S.  Clemente.  "  Tene  me  quia 
fugi  et  reboca  me  Victori  acolito  a  dominicu  Clementis." 
The  church  is  here  styled  dominicum,  a  term  as  we 
know,  used  in  the  beginning  of  the  iv.  centuiy,  but 
already  in  disuse  at  its  close.  The  church  was  in  use 
*  Chiese  di  Roma. 


THE  CHURCHES  IN  ROME  215 

at  the  time  of  Constantine,  and  was  probably  built 
upon  one  of  the  first  places  of  assembly  of  the  early 
Christians,  and  quite  possibly  upon  the  house  of 
Clement  (106-108),  as  tradition  asserts. 

In  this  church  were  deposited  the  relics  of  S.  Cyril, 
and  Methodius  his  brother,  and  of  the  two  Clements. 
Here  was  condemned  the  heretic  Pelagius,  under  Pope 
Zosimus  (411) ;  here  also  Gregory  the  Great  read  one 
of  his  homilies,  and  under  the  portico  the  Servulus 
mentioned  by  Gregory  sat  and  begged  for  many  years. 
This  early  basilica,  already  so  celebrated,  must  have 
been  partly  destroyed  and  encumbered  with  rubbish 
after  the  great  fires  of  Robert  Guiscard  in  1084,  and  in 
the  XII.  century  the  present  church  of  S.  Clemente  was 
built  upon  its  ruins.  All  memory  and  trace  of  the 
earlier  church  in  time  disappeared,  and  the  present 
building  was  supposed  to  be  the  original  edifice  men- 
tioned by  Jerome  until  1857,  when  during  some 
restorations  undertaken  in  the  adjoining  monastery,  a 
fragment  of  a  painted  wall  was  discovered,  some  20  feet 
below  the  present  level  of  the  soil.  This  led  to  the 
excavation,  thanks  to  the  efforts  and  zeal  of  the  Prior 
of  the  monastery  Father  MuUooly,  of  the  entire  Con- 
stantinian  basilica,  which  we  now  see  as  the  subter- 
ranean church  of  S.  Clemente.  The  earher  church 
was  still  in  use  in  1059,  as  this  date  occurs  upon  a 
family  monument  in  the  narthex  as  that  of  the  latest 
interment  in  the  vault,  whereas  the  second  church  was 
probably  built  soon  after  1125.*  Among  the  materials 
of  a  recently  demolished  house  in  the  neighbourhood, 
two  fragments  of  a  sepulchral  metrical  inscription 
have  been  found,  of  the  xi.  or  xii.  century,  which 
throw  much  light  upon  the  building  of  the  present 
S.  Clemente.  From  these  and  other  evidence,  it 
appears  that  Cardinal  Anastasius,  who  was  titular  of 
the  church  under  Honorius  II.,  and  whose  name  occurs 
upon  an  inscription  on  the  back  of  the  episcopal  chair, 

*  This  church  was  consecrated  on  May  26,  1128,  as  we  learn 
from  Psalter  175  in  the  Vatican  archives. 


2i6       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


undertook  the  erection  of  the  new  church.  Dying 
before  its  completion,  he  entrusted  the  work  to  one 
Peter,  in  all  probability  the  Petrus  Pisanus  compiler 
of  the  Liber  Pontificalis  of  Leo  IX.  (1049- 1055)  and 
Paschal  IL  (1099-1118),  condemned  during  the  schism 
of  Anacletus  II.,  and  restored  to  favour  by  the  inter- 
cession of  S.  Bernard.  He  was  contemporary  of  John 
of  Salzburg,  and  afterwards  titular  of  S.  Clemente, 
where  both  he  and  Cardinal  Anastasius  were  buried.'" 

Ambones.  The  beautiful  ambones  and  marble  screen  of  the 
choir  are  of  a  much  earlier  date  however,  and  led 
archaeologists  to  beUeve  that  the  present  S.  Clemente 
was  the  older  building  ;  but  it  is  obvious  from  the 
rough  and  careless  manner  in  which  the  screen  is  put 
together,  that  it  is  not  in  its  original  position,  and  was 
no  doubt  removed  from  the  older  church. 

Screen  of       The  greater  part  of  this  marble  screen  is  of  the  vi. 

choir.  century.  At  the  base  of  the  column,  on  the  side  of  the 
gospel  ambone,  is  an  inscription  belonging  to  the 
ancient  altar,  in  vi.  century  letters,  of  Pope  Hor- 
misdas  (514-523),  in  which  occurs  the  name  of  Mer- 
curius,  presbyter.  This  name  occurs  again  in  the 
capital  of  one  of  the  two  columns  round  the  tomb  of 
Cardinal  Venerio  (ob.  1489).  The  capital  is  of  the  vi. 
century,  and  bears  the  inscription,  "  Mercuritis  Pb  see 
ecclesicB  Romans  servus  Dmi."  Mercurius  became  Pope 
John  II.  in  532,  and  his  monogram  is  found  also  in 
portions  of  the  screen.  Some  fragments  also  are 
found  of  a  still  older  screen,  built  in  with  the  later 
portions,  and  which  bear  the  name  of  Pope  Siricius 
(384-398).  An  inscription  of  Pope  Damasus  seems 
also  to  have  been  placed  in  the  church  of  S.  Clemente, 
showing  that  this  pope  restored  or  embellished  it, 
pieces  of  such  an  inscription  having  been  found  among 
the  ruins. 

Lower  The  lower  church  is  now  approached  by  a  broad 

church.      flight  of  stairs  from  the  sacristy,  upon  the  walls  of 


*  Watterich,   Pontificum   rom.   vita. 
Liber  Pontificalis. 


Duchesne,  Etudes  sur  le 


THE  CHURCHES  IN  ROME  217 

which  are  plans  and  drawings  of  the  excavations,  and 
copies  of  some  of  the  frescoes. 

It  was  built  upon  a  larger  scale  than  the  present 
church,  the  outer  wall  of  which  is  supported  by  the 
columns  of  its  right  aisle,  while  an  additional  wall  was 
built  through  the  nave  of  the  lower  church  to  support 
the  nave  pillars  above.  The  stairs  open  into  the 
narthex  or  vestibule  of  the  subterranean  church.  The 
outer  wall  of  this  is  of  ancient  Roman  masonry,  and 
built  into  the  inner  wall  are  8  marble  columns,  one 
of  verde  antico  and  one  of  breccia  corallina.  At  the 
further  end  of  the  narthex,  is  a  door  which  probably  Narthex. 
led  into  the  original  qtiadriporticns  of  the  church. 
Some  ancient  sarcophagi  were  found  at  this  spot, 
and  some  fragments  of  marble  pavement  bearing 
the  names  of  two  consuls  of  the  age  of  Constan- 
tine. 

The  ancient  tribune,  approached  by  a  few  steps,  was 
considerably  larger  than  the  present  one,  and  to  the 
left  of  this  are  the  original  stairs  leading  into  a  por- 
tion of  an  ancient  Roman  house,  excavated  under  the 
care  of  Fr.  Mullooly,  possibly  the  house  and  oratory  Oratory  of 
of  S.   Clement  and   in  any  case   of  the   11.    century  S.  Cle- 
A.D.,    of  the  period  when   the    Christians   assembled  r"ent. 
secretly  in  the  houses  of  the  faithful.     Some  of  the 
rooms    are    decorated    with    stucco,    and    here    was 
found  a  statue  of  the  same  period,  representing  the 
Good  Shepherd.    These  rooms  were  incorporated  with 
the  Constantinian  basilica  as  a  sanctuary,  but  are  now 
unfortunately  inaccessible,  owing  to  their  being  partly 
filled  with  water.     At  the  same  low  level  behind  the 
apse,   a  large  temple  dedicated   to  the  god   Mithras  Temple  of 
was  found,  with  an  altar  decorated  with  a  bas-relief  Mithras, 
representing  the  sacrifice  of  a  bull  to  this  deity.     This 
chamber  must   have   been   so   adapted   during  some 
interval  when   the  house  had   passed  to  pagan  pro- 
prietors, as  the  worship  of  Mithras  in  Rome  was  of  late 
introduction. 

The  whole  structure  of  the  church  rests  upon  an  Founda- 
tions. 


2i8        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

older  foundation  of  blocks  of  travertine  and  tufa  of  the 
Republican  period. 

The  walls  of  the  lower  church  are  decorated  with 

frescoes,  dating  from  the  v.  to  the  xi.  century,  some 

of  which  are  in  excellent  preservation. 

Frescoes         In   the   narthex,  at   the  foot  of  the  stairs,  imme- 

ofnar-        diately  to  the  right  are  two  heads — the  female  one 

thex.  ^-^j^   ^   halo,  attributed   by  De   Rossi  to   the  iv.  or 

V.   century.       On   the   opposite   wall,    Christ   with  a 

broad  nimbus  between   the   archangels  Gabriel   and 

Michael  whose  names  appear  above,  with  S.  Clement 

and   S.    Andrew,    who  present   to    Him   two   figures 

bearing  a  chalice  and  candle,  possibly  SS.  Cyril  and 

Methodius   his    brother. ^=      These    figures    are    now 

barely  discernible.     This  is  of  the  ix.  or  x.  century. 

F'urther  on,  on  the  right,  a  miracle  at  the  tomb  of 
S.  Clement  in  Cherson  in  the  Crimea  where  he  is 
buried.  The  fresco  represents  a  mother  finding  her 
lost  child,  which  she  raises  from  the  tomb ;  lighted 
tapers  are  round  it,  behind  is  a  procession  of  priests. 
Beneath,  S.  Clement  in  a  medallion  with  an  inscription, 
and  figures  of  the  donor  and  his  family,  Beno  Rapiza 
his  wife  Maria,  and  his  children  Clement  and  Attilia, 
the  sea  and  fishes  around  them.  Rapiza's  name  occurs 
again  on  a  fresco  in  the  nave.  There  are  many  ancient 
graffiti  of  visitors  to  the  basilica  scratched  upon  the  walls 
at  this  spot.  Further  on  is  the  transference  of  the  body 
of  S.  Cyril  from  the  Vatican  to  this  church.  This  was 
done  by  Pope  Nicholas  I.  in  863  ;  Cyril's  tomb  is 
probably  that  which  now  stands  in  the  left  aisle. 
Of  right  Proceeding  along  the  right  aisle,  we  find  :  in  a  niche 

aisle.  the    Madonna    and    Child  between  S.    Catherine    of 

Alexandria  and  S.  Euphemia.  Near  it,  much  effaced  : 
the  sacrifice  of  Abraham,  the  scene  of  a  council, 
possibly ;  and  near  this,  a  pair  of  Roman  scales  with 
the  motto :  "  Stateram  auget  modium  iustum."  Next, 
Christ  in  the  act  of  benediction,  a  headless  figure. 

*  In  the  inscription  which  was  placed  in  this  basilica,  we  have 
Nicholas  I.'s  record  of  the  Slav  Apostle's  visit  to  Rome. 


THE  CHURCHES  IN  ROME  219 

In  the  left  aisle,  at  the  tribune  end  :  the  crucifixion  of  Of  left 
Peter,  with  figures  of  other  Apostles  ;  this  is  hardly  aisle, 
discernible ;  S.  Cyril  before  Michael  III.  King  of 
Bulgaria.  S.  Antoninus,  martyr  under  Diocletian,  and 
Daniel  among  the  lions,  with  the  name  S.  Daniehel 
upon  the  side  of  the  pilaster  dividing  the  aisle  from 
the  nave. 

At  the  extreme  end,  near  the  vestibule  :  some  much- 
effaced  frescoes  on  a  pier,  a  figure  of  S.  Prosperius, 
and  three  frescoes  on  the  walls  of  S.  Libertius, 
mentioned  in  S.  Gregory's  first  book  of  Dialogues. 

In  the  nave,  to  the  left  as  you  enter  from  the  of  the 
vestibule,  are  a  group  of  subjects  from  the  New  nave. 
Testament ;  a  Crucifixion  and  Assumption ;  in  this 
appear  S.  Vitus  and  Leo  IV.  (847-855),  the  latter  wear- 
ing a  square  nimbus,  to  show  that  he  was  still  living ; 
and  the  inscription  :  S.  Dom.  Leo  IV.  PP.  Rom.  The 
number  of  apostles  present  shows  this  to  be  in  fact 
an  Assumption,  and  not  an  Ascension  as  is  sometimes 
assumed.  Further  on  occurs  the  miracle  of  Cana, 
with  the  word  Architriclimis ;  the  Marys  round  the 
tomb  ;  and  Christ  rescuing  Adam  and  Eve  from  Hades. 
Beyond  to  the  left,  on  the  pillar,  scenes  in  the  life 
of  S.  Alexis,  his  return  from  Palestine  unknown  to 
his  father  Euphemianus  and  other  incidents  ;  then, 
S.  Egidius,  and  S.  Blaise  taking  a  thorn  from  the 
throat  of  a  child.  Further  on,  a  fresco  in  three  sections  : 
the  enthronement  of  Clement,  with  S.  Peter  and  the 
Popes  Linus  and  Cletus ;  S.  Clement  celebrating 
mass,*  and  below  the  miracle  of  Sisinus.  The  centre 
fresco  is  of  deep  interest,  and  is  excellently  preserved. 
We  see  the  solemn  act  of  the  oblation  performed  by  the 
entire  congregation,  women  and  men  each  bearing  to 
the  altar  the  corona  shaped  bread  for  the  Eucharist, 
carried  on  a  mappula.  On  the  missal  is  the  salutation 
so  frequent  in  the  mass,  Dominus  vobiscum.  The  form 
of  the  vestments  should  also  be  noticed.     Upon  the 

*  This,  and  the  scenes  of  the  life  of  Alexis  and  of  Cyril,  are  by 
the  same  hand,  and  are  of  the  ix.  century. 


220       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

three  frescoes  several  names  occur,  among  them  those 
of  Sisinus  and  his  wife  Theodora,  Hving  in  the  time  of 
Trajan.  On  the  side  of  the  same  pier,  Daniel  and 
the  lions. 

A   modern   altar    has   been    erected   in   this   lower 
church  under  which  have  been   placed  the  relics  of 
SS.  Clement  and  Ignatius  lately  discovered.     Behind 
is  the  remnant  of  the  apse  of  the  primitive  church. 
Upper  As  we  have  seen,  the  upper  church  of  S.  Clemente, 

church.  which  opens  onto  the  street  running  between  the 
Lateran  and  the  Colosseum,  was  built  about  1125- 
II 28,  and  is  the  best  preserved  church  of  that  period 
in  Rome.  The  atrium  which  measures  62  feet  by 
50  feet,  is  the  most  perfect  in  Rome,  and  is  surrounded 
on  three  sides  by  a  portico  of  Ionic  columns.  It  is 
entered  by  a  doorway  obviously  put  together  with 
fragments  of  marble  from  a  still  older  building,  and 
crowned  with  a  canopy  of  the  xiii.  century.  A  foun- 
tain now  stands  in  the  centre  of  the  court,  replacing 
the  original  cantharus. 
Nave.  The  nave  of  the  church  is  divided  from  the  aisles 

by  rows  of  pillars  differing  in  material  and  order,  16 
Aisles.  in  number.  The  right  aisle  of  this  church,  which, 
according  to  ancient  usage,  was  that  reserved  for  men, 
is  considerably  smaller  than  the  left  aisle,  that  of  the 
women. 

In  front  of  the  high  altar  is  the  ancient  choir  already 
Ambones.  described  ;  on  either  side  are  the  ambones,  that  on  the 
left  with  a  double  stair   and  candelabrum,  which   is 
beautifully  decorated  with  mosaic,  for  the  reading  of 
the  gospel ;  that  on  the  right,  for  the  epistle. -'■     The 
Bema.        bema    or   presbytery,    is   divided   from    the  nave  by 
a  marble  screen  of  the    same  period  as  that  of  the 
Episcopal  choir.     The  ancient   episcopal    throne  stands   in   the 
throne.       tribune.      Both    the     tribune    vault     and    arch    are 
Mosaics,     decorated  with   mosaic.     Those  of  the  arch  are  pro- 
bably of  the  same  date  as  the  church,  and  represent 

*  In  replacing  this  choir,  the  gospel  ambone  has  been  put  on 
what  is,  in  fact,  the  epistle  side  of  the  old  basilica  altar. 


THE  CHURCHES  IN  ROME  221 

the  Redeemer  between  two  angels  and  the  emblems 
of  the  four  EvangeUsts.  Below  SS.  Peter  and 
Clement  and  SS.  Paul  and  Laurence,  with  the  two 
prophets  Jeremiah  and  Isaiah.  Above,  the  hand 
holding  a  wreath ;  and  below,  the  lamb  and  the 
twelve  sheep,  with  the  two  cities  of  Bethlehem  and 
Jerusalem. 

The  mosaics  of  the  vault  are  later  in  date,  and  were 
placed  there  at  the  expense  of  a  nephew  of  Boni- 
face VIII.,  Cardinal  Tomassio,  in  1297.  They  repre- 
sent the  Redeemer  on  the  cross,  with  the  four  doctors  of 
the  church.  Below,  the  four  mystic  rivers  ;  the  whole 
entwined  with  arabesques  and  birds.  The  frescoes  on  Frescoes, 
the  walls  are  of  the  xv.  century,  and  are  said  to  be  by 
Giovenale  da  Orvieto. 

On  the  right  of  the  high  altar  is  a  small  chapel  Chapel  on 
containing  the  statue  of  John  the  Baptist,  by  Simeone,  "ght. 
brother   of   Donatello ;    close   by  is  a  monument   to 
Cardinal  Roverella  (1476).      On  the  left  of  the  high  Chapel 
altar  is  the  modern  Chapel  of  the  Rosary,  containing  oi  the 
a  picture  of  the   Madonna,  by  Conca.     In  the    first  Rosary, 
chapel  on  the  left  of  the  great  entrance  are  Massaccio's  ^^^^^ 
frescoes,  unfortunately  much  restored.     Over  the  altar  Lff^^  °" 
is  a  Crucifixion,  and  on  one  side  scenes  from  the  life 
of  S.  Clement ;  on  the  other,  of  S.  Catherine  of  Alex- 
andria.    These  represent  her  dispute  with  the  doctors, 
her  deliverance,  her  martyrdom,  the  saint  teaching  the 
daughter  of  King  Maximilian,  and  her  burial.     On  the 
outside  of  the  chapel  an  Annunciation,  below  S.  Chris- 
topher. 

Feast  day. — November  23.  The  lower  church  is  lit  up  on 
January  31  and  February  i,  the  Eve  and  Feast  of  S.  Ignatius,  and 
for  the  "  Station  "  on  the  2nd  Monday  in  Lent. 

8.  CLEMENT  (CLEMENS  ROMANES),  ouc  of  the  most  rcvered 
Roman  names,  and  himself  one  of  the  makers  of 
Christian  Rome,  and  the  friend  of  Peter  and  Paul, 
became  head  of  the  church  at  the  end  of  the  i.  cen- 
tury. His  family  came  from  Palestrina,  and  he  had 
received  a  careful  education. 


222       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

This  man  of  commanding  personality  has  paid  the 
penalty  in  being  the  subject  of  a  great  accretion  of 
legend.  Under  Trajan  he  was  banished  to  the  Crimea, 
where  2,000  Christians  laboured  in  the  stone-quarries. 
The  miracle  of  causing  water  to  gush  forth  to  relieve 
the  intolerable  thirst  from  which  they  suffered  led  to 
his  being  thrown  into  the  sea,  and  round  his  death 
gathers  the  greatest  number  of  marvels.  In  response 
to  the  Christians'  prayers  the  sea  receded,  exposing  a 
little  marble  temple  in  which  lay  his  body. 

His  attributes  in  art  are  the  anchor,  which  was 
hung  round  his  neck,  and  he  is  habited  as  pope,  but 
without  the  tiara.''' 

SS.  COSMA  E  DA.MIANO,  a  church  in  the  Roman 
Forum  on  the  left  of  the  Via  Sacra,  one  of  the  most 
interesting  in  Rome,  consists  of  various  pagan  build- 
ings incorporated  into  a  church  by  Pope  Felix  IV. 
(526-530). 

The  quadrilateral  edifice,  the  main  portion  of  the 
church,  was  the  original  Templum  Pacis  built  by 
Vespasian,  in  which  according  to  the  latest  authori- 
ties, the  city  archives  were  kept.  After  the  great  fire 
of  198  A.D.,  it  was  restored  by  Septimius  Severus  and 
Caracalla,  who  affixed  to  it  the  plan  of  Rome,  frag- 
ments of  which  can  still  be  seen.  The  edifice  was 
then  called  Templum  Sacrae  Urbis.f  Against  the 
posterior  portion  of  this,,  but  with  a  separate  en- 
trance, the  Emperor  Maxentius  built  a  circular  temple 
to  his  son  Romulus  in  the  iv.  century,  and  the  two 
were  incorporated  into  one  building  by  Pope  Felix. 
This  temple  of  Romulus,  decorated  with  4  Corinthian 
columns,  forms  the  vestibule  of  the  church,  the  quadri- 
lateral hall  of  the  Templum  Sacioim  its  body ;  while 
at  the  further  end  Fehx  added  an  additional  hall, 
reached  through  what  was  then  an  open  apse ;    this 

*  The  Clementines  were  falsely  ascribed  to  him,  but  we  have 
his  work  in  the  Epistle  to  the  Corinthians, 
t  De  Rossi,  Bull.  Arch.  Christ..  1867. 


THE  CHURCHES  IN  ROME  223 

hall  is  now  the  sacristy.  With  the  gradual  rise  of  the 
level  of  the  surrounding  ground  this  church  became 
almost  subterranean,  and  Urban  VIII.  caused  a  new 
floor  to  be  made,  thus  dividing  it  into  two,  the  ancient 
doors  being  moved  to  the  upper  portion.  Recent  ex- 
cavations have  now  again  laid  bare  the  lower  church, 
and  the  ancient  door  and  columns  have  once  more 
been  removed  to  their  original  place.  In  the  lower 
church  can  still  be  seen  the  ancient  altar,  the  bases 
of  the  columns  of  the  ciborium,  and  on  the  walls  the 
remains  of  frescoes.  Here  also  is  a  well,  in  which  it 
is  said  Christians  were  thrown  during  the  Neronian 
persecutions. 

The  ancient  mosaics  of  the  tribune,  of  the  time  of 
Felix  IV.,  still  remain  in  the  upper  church,  and  are 
among  the  most  remarkable  in  Rome.  Upon  the 
arch  is  the  mystic  lamb  enthroned  with  the  book  of 
the  7  seals ;  at  the  side,  the  7  candlesticks  and  2  of 
the  emblems  of  the  Evangelists  ;  the  24  elders  of  the 
Apocalypse  casting  their  crowns  before  the  Redeemer 
on  the  face  of  the  arch  were  almost  entirely  destroyed 
by  the  restorations  of  Urban  VIII. 

In  the  vault  of  the  tribune  is  a  colossal  figure  of 
Christ,  with  long  hair  and  a  nimbus,  clad  in  yellow 
draperies,  and  against  a  red  and  gold  ground.  Above, 
the  hand  with  a  wreath,  signifying  the  Eternal  Father. 
At  the  side,  Cosma  and  Damian  led  by  Peter  and 
Paul.  These  are  large  figures,  the  faces  portrayed 
with  considerable  power,  the  expression  full  of  fervour 
and  reverence.  Pope  Felix  is  on  the  left,  clad  in 
yellow  drapery  and  a  blue  under-garment.  The  face  of 
this  pope,  having  perished  in  the  time  of  Gregory  XIII., 
was  replaced  by  a  portrait  of  Gregory  the  Great,  as  we 
learn  fromUgonio.  Under  Alexander  VII.  (1655- 1667) 
Cardinal  Barberini  once  more  replaced  the  head  of 
Felix  IV.,  which  is  therefore  quite  modern. 

Sergius  I.,  in  about  695,  added  the  ambones  and  the 
ciborium,  and  the  roof  was  restored  by  Adrian  I.  and 
Leo  III. 


224        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

This  church  was  also  called  in  tribtis  fatis,  a  name 
very  likely  derived  from  some  group  of  the  three 
Fates,  which  may  have  stood  close  by.  The  amal- 
gamation of  the  two  names  Cosma  and  Damian  into 
Cosmato  is  recorded  by  Camerario. 

The  church  was  given  to  the  third  order  of 
S.  Francis  by  Cardinal  Alessandro  Farnese,  after- 
wards Paul  III.  The  church  is  open  for  the  Station 
on  the  4th  Sunday  in  Lent. 

SS.  COSMA  E  DAMIANO  IN  TRA8TEVERE,  commonly 
called  S.  Cosmato  in  Mica  Aurea,  stands  at  the  foot  of 
the  Janiculum  Hill,  and  takes  its  name  of  Mica  Aurea 
from  the  yellow  sand  of  this  region.  The  church 
stands  upon  the  site  of  the  Campus  Brutianus,  and 
probably  arose  in  the  x.  century.  It  was  recorded 
among  the  abbeys  of  Rome  by  Petrus  Mallius  in  the 
XII.  century ;  but  the  most  complete  accounts  of 
the  church  have  come  down  to  us  from  the  MS. 
chronicle  of  Suor  Orsola  Formicini,*  compiled  in  1607, 
who  was  abbess  of  the  convent  in  1598. 

From  this  chronicle  we  learn  that  the  monastery 
was  for  a  long  time  held  by  Benedictine  monks,  from 
whom  it  passed  to  the  nuns  called  "  Recluses  of 
S.  Damiano."  The  monastery  was  one  of  the  richest 
in  Rome,  and  owned  vineyards,  olive  orchards,  salt- 
mines and  villages.  The  hospital  in  which  lived  S. 
Francis  of  Assisi,  was  one  of  its  dependencies,  with 
9  other  abbeys  outside  Rome.  In  1475  Sixtus  IV. 
rebuilt  the  church  from  its  foundations,  and  it  has 
been  several  times  restored.  It  is  approached  by  a 
court  in  which  stands  a  large  granite  urn.  The 
fa9ade  has  been  attributed  to  Pintelli.  Over  the  high 
altar  is  a  supposed  miraculous  image  of  the  Madonna  ; 
to  the  left,  a  Madonna  with  S.  Francis  and  S.  Chiara 
by  Pinturicchio. 

A  stone  excavated  on  the  banks  of  the  Tiber,  with 

•  A  copy  exists  in  the  librarj-  of  the  CoUegio  Romano,  and 
another  in  the  Vatican  :  Cod.  Vat.  7,847. 


THE  CHURCHES  IN  ROME  225 

a  VI.  century  inscription,  shows  that  a  Christian 
cemetery  of  Mica  Atirea  existed  in  this  vicinity. 

In  the  catalogue  of  Turin  (xv.  century),  the 
convent  is  stated  to  have  consisted  of  35  nuns  of 
the  order  of  S.  Clare,  with  two  Friars  minor  to 
officiate. 

Feast  day. — September  27. 

SB.  coBMA  AND  DAMiAN,  two  brothcrs,  werc  Arabians 
brought  up  by  a  pious  Christian  mother.  They  were 
both  learned  physicians  and  surgeons,  and  spent  their 
whole  time  ministering  to  the  poor  and  labouring 
among  the  sick.  During  the  persecutions  of  Dio- 
cletian they  were  seized  by  the  proconsul,  but,  says 
the  legend,  angels  saved  them  from  death  by  water  or 
fire  ;  and  when  they  were  tied  to  crosses  and  stoned, 
the  stones  fell  short  of  them.  They  were  then  looked 
upon  as  enchanters,  and  were  beheaded.  In  art,  they 
are  always  represented  together.  They  are  both 
young,  and  wear  the  loose  robes  of  the  physician, 
generally  red,  tipped  with  fur  ;  they  wear  red  caps,  and 
hold  a  Uttle  box  of  ointment  and  a  lancet.  They  are 
the  patron  saints  of  the  Medici  family. 

S.  CRISOGONO  in  Trastevere  is  perhaps  of  Con- 
stantinian  origin,  and  retains  much  of  its  primitive 
character,  although  it  is  improbable  that  the  present 
pavement  is  at  its  original  level.  The  adjacent  ex- 
cavations of  the  cxcubitorium,  or  station  of  the  Roman 
firemen,  indicate  the  old  level  of  the  soil,  and  it  is  pos- 
sible that  under  the  present  church  some  remains  of 
the  Constantinian  basilica  exist. 

We  know  from  the  Liber  Pontificalis,  that 
Gregory  III.  restored  the  roof  in  about  731,  and 
decorated  the  walls  with  paintings,  and  annexed  to  it 
a  monastery  dedicated  to  S.  Stephen,  S.  Laurence, 
and  S.  Chrisogonus.  Among  the  monks  was  the 
Stephen  elected  pope  in  768.  In  1123  Giovanni  da 
Crema  was  titular  of  this  church,  imprisoned  the  anti- 
pope  Burdino,  and  was  elected  apostolic  legate  to 
England  by  Honorius  II.     During  the  pontificates  of 

15 


226       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Honorius  III.  and  Innocent  III.  (1198-1216),  Stephen 
Langton  Archbishop  of  Canterbury,  was  titular  of 
S.  Crisogono. 

The  monastery  was  occupied  by  Benedictines  until 
the  XII.  century.  Pius  IX.  finally  gave  the  church 
and  monastery  to  the  order  of  Trinitarians  for  the 
Redemption  of  Slaves,  who  still  possess  them.  They 
had  also  been  held  by  Canons,  and  by  the  Carmelites. 
The  interior  of  the  church,  of  basilica  form,  consists 
of  a  nave  and  two  aisles,  divided  by  22  granite 
columns,  from  the  baths  of  Septimius  Severus.  The 
arch  of  the  tribune  is  supported  by  two  porphyry 
columns  of  rare  size  and  material.  The  pavement  is 
Cosmatesque  work  of  the  xiii.  century. 

Until  this  century,  Guercino's  picture  of  the  titular 
saint  figured  in  the  centre  of  the  roof.  It  is  now  in 
the  Duke  of  Sutherland's  collection,  and  is  replaced  by 
a  copy.  On  the  walls  are  fragments  of  inscriptions, 
pagan  and  Christian,  removed  from  the  cemeteries  in 
the  XVI.  century.  In  the  right  aisle  is  the  tomb 
of  the  pious  Roman  lady  Anna  Maria  Taigi,  ob.  1837, 
whose  cause  for  beatification  is  now  before  the  Holy 
See.  Only  a  portion  of  the  ancient  mosaics  of  the 
tribune  remains — a  Virgin  and  Child,  with  S.  Cjiso- 
gonus  and  S.  James.  The  ceiling  paintings  are  by 
Cav.  d'  Arpino.  In  front  of  the  church  is  a  portico  with 
4  oriental  columns.  The  building  was  restored  by 
Cardinal  Borghese  in  1626.  In  this  century  a  little 
IV.  century  statue  of  the  "  Buon  Pastore"  was  found 
in  the  adjoining  garden. 

Feast  day. — November  24. 

The  Station  is  on  the  5th  Monday  in  Lent. 

8.  cMsoooNTJs  Suffered  a  two  years'  captivity  under 
Diocletian.  Anastasia*  supplied  his  needs  during  this 
period,  and  in  the  constant  correspondence  between 
them  they  comforted  and  encouraged  each  other. 
Their  friendship  is  beautifully  narrated.  At  the  end 
of  this  time,  brought  before  the  emperor  at  Aquila, 
•  See  p.  176. 


THE  CHURCHES  IN  ROME  227 

Crisogonus  was  offered  high  honours  if  he  would 
consent  to  worship  the  gods,  and  upon  his  refusal  he 
was  put  to  death  by  the  sword  and  his  body  thrown 
into  the  sea.  It  was  afterwards  washed  ashore,  and 
buried  in  his  own  garden  by  one  Zoila  a  priest. 

88.  CROCE  E  BONAVENTUEA  DEI  LTTCCHE8I,  a  site  inter- 
esting as  the  residence  of  S.  Ignatius  Loyola,  lies  at  the 
foot  of  the  Quirinal  Hill,  in  a  street  of  the  same  name. 
The  church  was  built  in  the  xvii.  century  by  the 
inhabitants  of  Lucca,  and  two  Lucchesi  decorated 
it.  It  has  been  recently  restored  and  bought  by  the 
congregation  of  Marie  Reparatrice,  who  have  moved 
here  from  the  little  church  in  the  Via  degU  Artisti  so 
well  known  to  visitors  in  Rome. 

88.  DOMENICO  E  8IST0. — This  church,  on  the  Quirinal 
Hill,  and  at  the  summit  of  the  Via  Magnanapoli,  was 
erected  in  161 1  under  Urban  VIII.,  for  the  use  of  the 
Dominican  nuns  from  the  ancient  convent  of  S.  Sisto,^^- 
on  the  Via  Appia.  The  church  was  designed  by 
Delia  Greca,  and  is  approached  by  a  double  flight  of 
steps.  The  interior  is  decorated  with  frescoes  by 
Canuti,  and  there  is  much  elaborate  stucco  work. 

Chapels. — The  I .  on  the  right  contains  a  marble  group 
of  Christ  and  the  Magdalen,  by  Raggi. 

The  I.  on  the  left,  a  painting  of  Our  Lady  of  the 
Rosary,  by  Romanelli. 

II.  on  the  left,  an  altar-piece  of  the  marriage  of 
S.  Catherine,  by  Allegrani. 

III.  on  left,  a  Crucifixion  by  Lanfranco. 

Part  of  the  convent  is  now  used  for  Government 
offices. 

This  church  is  dedicated  to  the  Pope  Sixtus  II. 
(see  Catacomb  Callistus,  Chap.  X.),  and  to  S.  Dominic. 

Feast  day. — August  6. 

For  S.  Dominic,  see  Part  III.,  dealing  with  the  religious  orders. 

8.  EUSEBIO,  on  the  Esquiline,  stands  at  the  corner 
of  the  Piazza  Vittorio  Emanuele. 

*  See  the  account  of  the  Dominicans  in  Part  III.  dealing  with 
religious  orders. 

13—2 


228       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

The  foundation  of  this  titular  church  is  of  great 
antiquity,  although  of  the  original  building  nothing 
now  remains.  It  is  said  by  tradition  to  have  been 
built  upon  the  house  of  the  priest  Eusebius,  one  of 
the  Catholic  champions  against  the  heresies  of  Arius. 

It  is  mentioned  in  494  in  the  catalogue  of  Gelasius, 
and  in  504 ;  and  in  the  catacomb  of  SS.  Marcellino  e 
Pietro,  on  the  Via  Labicana,  an  inscription  of  the 
beginning  of  the  iv,  century  to  a  cleric  of  this  church 
— "  Olympi  Lectoris  de  Dominico  Eusebii  locus  est " — 
has  lately  been  found.  It  is  therefore  possible  that 
the  house  of  Eusebius,  in  which  he  was  martyred, 
was  transformed  into  a  church  immediately  after  his 
death,  and  consecrated  by  Pope  Liberius  (352-366) 
even  before  the  Arian  persecutions  had  ceased.  The 
church  is  several  times  mentioned  during  the  vi.  vii. 
and  VIII.  centuries.  In  1230  it  was  rebuilt  from  its 
foundations  by  Gregory  IX.,  and  in  the  new  consecra- 
tion the  name  of  S.  Vincenzo  was  associated  with 
that  of  S.  Eusebius,  and  paintings  of  these  two  saints 
adorned  the  pillars  of  the  church,  as  we  learn  from  an 
inscription  now  in  the  portico. 

Nothing  of  the  xiii.  century  building  has  been 
retained.  It  was  twice  restored  and  rebuilt,  in  171 1 
and  in  1750,  and  its  interesting  inscriptions,  recorded 
by  Bruzio,  have  perished. 

The  church  originally  belonged  to  the  now  extinct 
order  of  Celestinians,  and  afterwards  to  the  Jesuits 
until  1870.  It  was  a  titular  church  until  the  pontifi- 
cate of  Gregory  XVI.,  and  after  an  interval,  again 
under  Pius  IX. 

Under  Sixtus  IV.  (1471)  one  of  the  first  printing 
presses  was  instituted  in  the  monastery. 

In  the  visitation  of  the  year  1662,  the  abbot  of  the 
monastery  states  that  the  church  possessed  certain 
gardens,  vineyards,  woods,  houses,  and  chapels  in 
Rome  and  Albano,  with  a  revenue  of  1608  scudi.  The 
number  of  priests  was  8,  of  lay  brothers  4,  with  8 
students  and  a  reader. 


THE  CHURCHES  IN  ROME  229 

In  1699  some  excavations  undertaken  by  the  Duca 
d'  Urbino,  Spanish  ambassador,  brought  to  Hght  a 
small  chapel,  richly  decorated,  but  which  was  then  de- 
stroyed.* 

Feast  day. — August  14. 

The  church  is  open  for  the  Station  on  the  5th  Friday  in 
Lent. 

ExrsEBitJs  Presbyter  of  the  Roman  Church,  and  the 
opponent  of  Arius,  lived  in  the  pontificate  of  Liberius 
(352-366).  Though  it  is  said  he  was  done  to  death  in 
his  own  house  by  Constantius,  he  is  known  to  the 
Diario  Romano  as  a  noble  Roman  saint,  not  as  a  martyr. 
He  was  one  of  the  first  martyrs  for  orthodoxy,  as  it 
was  for  the  Nicene  faith  that  he  was  persecuted  by 
Constantius. 

8.  EXrSTACHIO. — According  to  an  old  tradition,  this 
church  in  the  piazza  of  the  same  name,  was  called 
S.  Eustachio  in  Platana  from  a  plane-tree  (platana) 
which  flourished  by  it.  On  its  site  stood  the  house  of 
Eustachio,  a  descendant,  so  it  was  said,  of  the  family 
of  Octavius.  The  church  is  mentioned  as  early  as 
795  in  the  Liber  PontificaUs  as  a  "  diaconia  Romana." 
It  was  rebuilt  in  1191  by  Pope  Celestin,  and  the 
present  bell  tower  is  of  this  date,  as  we  learn  in  an 
inscription  still  intact.  The  original  church  was  of 
considerable  interest ;  it  was  built  in  basilica  form, 
and  its  pavement  was  rich  in  inscriptions,  one  among 
them  dating  from  the  year  399.!  Of  the  original 
building  nothing  remains  but  the  bell  tower.  The 
present  church  is  a  small  Renaissance  structure,  with 
wide  oval  transept  and  apsidal  tribune  ;  the  high  altar 
and  the  first  chapel  to  the  left  contain  modern  paint- 
ings of  scenes  in  the  life  of  S.  Eustace. 

Under  the  high  altar  are  preserved  the  bodies  of 
S.  Eustachio,  of  his  wife  Theopista,  and  his  children 
Agapitus  and  Theopistas.  The  Roman  nobility  have 
always  shown  the  greatest  devotion  to  S.  Eustachio, 

•  Narrated  by  Ficorini,  Not.  d'  Antichitd  inFea,  Misc.  I.  ccxvii. 
t  De  Rossi,  Inscr.  Christ.,  p.  473. 


230       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

and  the  celebrated  family  of  the  Counts  of  Tusculum, 
claiming  descent  from  the  Emperor  Octavius,  assumed 
the  further  title  of  Counts  of  S.  Eustachio. 

Feast  day. — September  20. 

8.  EUBTAcmo  (EtrsTACE),  was  a  Roman  soldier  in  the 
service  of  the  Emperor  Hadrian,  and  was  much  ad- 
dicted to  hunting.  According  to  the  legend,  he  was 
one  day  out  hunting  on  the  Mentorella  mountains, 
when  he  saw  a  stag  with  a  crucifix  between  its  horns, 
and  a  voice  said  to  him,  "Be  of  good  courage,  for  you 
will  bear  many  tribulations  for  My  sake."  Eustace 
was  by  this  miracle  converted  to  Christianity  with  his 
wife  and  two  sons,  and  many  misfortunes  befell  him. 
His  possessions  were  stolen,  his  wife  and  children 
torn  from  him  by  pirates  and  wild  beasts,  and 
Eustace  himself  fled  from  the  world.  After  15  years  he 
was  recalled  by  Hadrian,  and  found  his  wife  and 
children  had  miraculously  been  restored  to  him. 
Refusing  to  sacrifice  to  the  gods,  they  were  all  shut 
up  inside  a  bronze  bull,  and  a  fire  was  kindled  beneath. 
Eustace  appears  in  art  as  a  Roman  soldier,  with  the 
miraculous  stag  beside  him  ;  sometimes  his  sons  are 
with  him,  bearing  palms. 

8.  PILIPPO  IN  PALAZZO  MASSIMO.— A  Room  in  this 
palace  was  converted  into  a  chapel  and  dedicated  to 
S.  Philip  Neri,  in  commemoration  of  the  restoration  to 
life  by  this  saint  of  Paolo  Massimo,  the  eldest  son  of 
the  Prince,  in  1583.  The  chapel  is  the  work  of 
Baldassarre  Peruzzi.  Its  feast  is  kept  on  March  i6, 
when  the  public  is  admitted. 

For  S.  Philip,  see  Part  III. 

S.  FEANCESCA  EOMANA.— This  church,  also  called 
S.  Maria  Nuova,  was  originally  known  as  S.  Maria  in 
Palerna.  This  latter  name  may  be  a  corruption  of 
in  Palatiunt,  referring  either  to  the  Palatine  close  by, 
or  to  the  Palladium,  the  relic  kept  in  the  adjacent 
Temple  of  Vesta.  At  the  beginning  of  the  viii. 
century  the  church  already  existed  under  the  name  of 


THE  CHURCHES  IN  ROME  231 

S.  Maria  Antigua,  and  received  its  name  of  Nitova 
after  its  restoration  by  Nicholas  I.  following  a  great 
fire. 

It  was  built  on  the  site  of  the  temple  of  Venus  and 
Rome,  and  remains  of  this,  with  the  apse,  can  still  be 
seen  in  the  garden  at  the  back  of  the  church. 

In  996  Gregory  V.  removed  to  this  church  the 
bodies  of  several  saints.  Urban  II.  lived  in  the 
adjacent  monastery  in  1093,  and  his  Bulls  are  dated 
from  S.  Maria  Nuova.  On  February  3,  1136,  Inno- 
cent II,  was  consecrated  and  ordained  in  the  church. 
Under  Honorius  III.  it  was  again  destroyed  by  fire, 
and  rebuilt  by  this  pope  in  1216.  In  1615  a  new 
fa9ade  was  added,  and  the  present  roof,  under  the 
direction  of  the  OUvetan  monks,  to  whom  belonged 
the  annexed  convent. 

Like  other  basilicas,  the  presbytery  is  placed  at  a  Interior. 
higher  level  than  the  nave,  and  is  reached  by  a  double 
flight  of  steps.  The  vault  of  the  tribune  is  decorated 
with  mosaics  representing  the  Madonna  in  the  centre;  Mosaics, 
on  her  left,  SS.  Peter  and  Andrew ;  on  her  right, 
SS.  James  and  John.  Each  stands  between  twisted 
palm-trees.  The  inscription  in  the  lower  portion  has 
been  several  times  mutilated  by  restoration.  It  ran  : 
Continet  in  gremio  ccelum  terramque  regentem  Sancta  Dei 
genetrix  proceres  comitantur  erilem.  The  date  of  these 
mosaics  has  been  variously  given  as  the  time  of 
Nicholas  I.  859-867;  Honorius  III.,  1216-1227;  and 
Alexander  III.,  about  1161.  The  latter  is  that  given 
by  De  Rossi. 

The  walls  and  front  of  the  arch  were  originally 
covered  with  mosaics,  which  were  destroyed  in  1615. 

The  pavement  of  the  church  was  Alexandrine,  por-  Nave, 
tions  of  which  only  remain,    repaired   unfortunately 
with  slabs  taken  from  the  loculi  of  the  catacombs. 

Over  the  high  altar  is  a  picture  of  the  Madonna, 
brought  by  Angelo  Frangipani  from  Troas,  on  his 
return  from  the  Holy  Land  in  the  xi.  century. 

Beneath  is  the  confession  over  the  tomb  of  S.  Fran- 


232       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

cesca,  with  a  statue  of  the  saint  attended  by  an  angel, 
by  Meli. 
Chapels         In  the  II.  chapel  on  the  right,  is  the  monument  to 
on  Right.   Cardinal  Vulcani  of  1322,  and  one  to  Antonio  Rido, 
commander  of  the  papal  forces  under  Nicholas  V. 

In  the  III.  chapel  are  3  pictures  of  the  miracles  of 
S.  Benedict,  and  an  altar-piece  by  Subleyras. 
Left.  The  I.  chapel  on  the  left  contains  a  Madonna  and 

4  saints,  by  Sinibaldo  Ibi. 

The  IV.  is  dedicated  to  blessed  Bernard  Tolomei. 
Transept.        In  the  transept,  to  the  right  facing  the  apse,  is  the 
monument  of  Gregory  XL,  with  a  bas-relief,  designed 
by  Pietro  Olivieri  and  sculptured  by  Phiren,  represent- 
ing the  return  of  this  pope  from  Avignon  to  Rome  in 
1377.     The  tomb  was  erected  by  the  Roman  people  in 
1584,     Near  this,  is  a  stone  in  the  wall  with  two  large 
dents  in  it,  shown  as  the  marks  of  Peter's  knees  when 
Miracle  of  he  prayed  for  the  fall  of  Simon  Magus.     This  was  one 
Simon        of  the  paving-stones  of  the  Via  Sacra,  taken  from  the 
Magus.       gpQ^  close  by  which  tradition  points  out  as  the  site  of 
the  miracle  of  Simon  Magus,  '^juxta  templum  Romuli." 
From  the  year  760  until  the  time  of  Paul  III.  a  Httle 
church  stood  here  to  mark  the  spot.     The  church  is 
entirely  destroyed,  but  traces  of  frescoes  are  still  dis- 
cernible upon  the  walls  of  the  basilica  of  Constantine, 
against  which  the  church  stood.     The  slab  was  re- 
moved to  the  church  of  S.  Francesca  in  1375. 

On  the  left  of  the  apse  is  a  marble  ciborium,  with 
sculptures  after  Mino  da  Fiesole. 
Crypt.  From  here  a  staircase  leads  to  the  crypt,  where  the 

skeleton  of  S.  Francesca  Romana  lies,  exposed  to 
view  on  March  8  and  9,  the  latter  being  her  feast  day. 
Above  her  tomb  is  a  bas-relief  by  Bernini,  which  was 
executed  at  the  expense  of  Agata  Pamfili,  oblate  of  Tor 
de'  Specchi,  and  sister  of  Innocent  X.  Near  this  is  the 
spot  where  the  saint's  body  was  found  buried  in  1638. 
The  church  was  originally  administered  by  a  chapter. 
Alexander  II.  however,  gave  it  to  the  canons  regular 
of  S.  Frediano  of  Lucca  in  106 1,  and  it  was  transferred 


THE  CHURCHES  IN  ROME  233 

later  to  the  canons  regular  of  the  Lateran.  In  1352, 
under  Clement  VI.,  it  passed  to  its  present  keepers, 
the  Benedictines  of  Monte  Oliveto. 

The  adjoining  monastery  possesses  a  picture  of 
Paul  III.  and  Cardinal  Pole,  by  Pierino  del  Vaga. 

The  bell  tower  of  the  church  is  of  the  xii.  century, 
and  is  one  of  the  best  preserved  in  Rome  of  that  epoch. 

Feast  day. — March  9. 

For  S.  Francesca  Romana,  see  Part  III. 

S.  FBANCESCO  A  EIPA. — This  church  and  convent  of 
the  Minor  Observants  were  founded  in  1229,  during 
the  pontificate  of  Gregory  IX.,  and  are  situated  at  the 
extremity  of  Trastevere  in  the  Piazza  di  S.  Francesco. 
S.  Francis  of  Assisi  stayed  at  this  convent  during  his 
sojourn  in  Rome,  and  the  room  he  occupied  was  con- 
verted into  a  chapel  by  Cardinal  Montalto,  and  can  be 
visited  ;  it  is  reached  through  the  sacristy.     Over  the  Chapel 
altar  in  this  chapel  is  one  of  the  three  pictures  ofofS. 
S.  Francis  said  to  have  been  painted  during  his  hfe,  ^''^"'^^s- 
the  other  two  being  at  Subiaco  and  Assisi.     Above  it 
is  a  copy  of  the  head  of  Christ  from  the  Scala  Santa. 
Here  are  kept  relics  of  the  Franciscan  martyrs  of  Japan. 
The  rest  of  the  convent   has  been  converted  into  a 
barrack  by  the  Italian  Government. 

The  present  church  was  almost  rebuilt,  and  quite 
modernized  in  the  xvii.  century,  by  Cardinal  Pallavicini, 
from  design?  of  Matteo  Rossi,  and  is  in  indifferent  taste. 

It  consists  of  a  nave  and  two  aisles  with  four  chapels 
on  either  side.  In  the  right  transept  in  the  Pallavicini 
chapel,  are  two  monuments  to  members  of  this  family. 

The  Albertoni,  now  the  Altieri  chapel  in  the  left 
transept  contains  a  figure  of  the  blessed  Ludovica 
Albertoni  by  Bernini,  and  an  altar-piece  of  S.  Anna 
with  the  Madonna  and  Child,  by  Baciccio. 

The  church  also  contains  a  nativity  by  S.  Vouet, 
and  a  Pieta  by  Caracci  worth  noticing. 
Feast  day. — October  4. 

For  an  account  of  St.  Francis  of  Assisi,  see  Part  III.,  dealing 
with  the  religious  orders. 


234       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

THE  GEStJ  in  the  piazza  of  the  same  name  was  built 
by  Cardinal  Farnese  in  1575.  It  was  the  principal 
church  of  the  Society  of  Jesus,  and  the  adjoining 
building,  now  a  barrack,  was  one  of  their  chief  houses, 
and  used  to  contain  145  habitable  rooms.  Ninety- 
four  priests,  brothers  and  novitiates,  lived  here  when 
the  Visitation  of  churches  was  made  in  1662. 

The  designs  for  the  church  were  entrusted  to 
Vignola,  and  after  his  death  to  Giacomo  della  Porta, 
to  whom  are  due  the  fa9ade,  cupola,  and  the  two 
round  chapels  on  either  side  of  the  main  altar. 

The  ceihng,  dome  and  tribune  are  painted  by 
Baciccio,  and  the  walls  are  covered  with  marble,  the 
interior  being  among  the  most  gorgeous  in  Rome. 
Chapels.  The  round  chapel  on  the  right,  dedicated  to  S. 
Francis  Zavier,  was  decorated  from  designs  of  Cor- 
tona ;  the  altar  piece,  representing  the  death  of  the  saint, 
is  by  Maratta. 

The  high  altar  designed  by  della  Porta,  has  four 
columns  of  fine  giallo  antico,  and  an  altar  piece  repre- 
senting Christ  in  the  Temple,  by  Capalti.  On  the 
left,  is  the  monument  of  Cardinal  Bellarmino,  designed 
by  Rainaldi,  with  allegorical  figures  of  Religion  and 
Wisdom  by  Bernini.  To  the  right,  is  the  monument 
of  Pignatelli,  General  of  the  order,  with  figures  of 
Hope  and  Love. 

In  the  left  transept,  is  the  Chapel  of  S.  Ignatius, 
magnificently  decorated  with  lapis  lazuli,  verde  antico 
and  rare  marbles.  The  chapel  was  designed  by  Pozzi, 
who  also  painted  the  altar  piece. 

Above  is  a  marble  group  of  the  Trinity  by  B.  Ludo- 
visi,  with  an  angel  holding  the  terrestrial  globe,  made 
entirely  of  lapis  lazuH.  The  niche  of  the  altar  is  also 
lined  with  this  stone,  and  within  is  a  statue  covered 
with  silver  plates,  of  S.  Ignatius  in  sacerdotal  vest- 
ments. Beneath  the  altar  his  body  lies  in  a  bronze 
gilt  sarcophagus.  To  the  left,  is  an  allegorical  group 
in  marble  of  Faith  crushing  Idolatry,  by  Theodon  ;  to 
the  right.  Religion  trampling  upon  Heresy,  by  Le  Gros. 


THE  CHURCHES  IN  ROME  235 

The  chapel  next  to  this  is  that  of  S.  Maria  della 
Strada,  and  contains  a  much  -  venerated  Madonna, 
removed  from  a  destroyed  church  of  this  name.  The 
chapel,  designed  by  della  Porta,  was  decorated  with 
paintings  by  Pozzi.  The  painting  of  S.  Joseph  is  by 
Podesti. 

Feast  day. — January  i  (Circumcision),  and  July  31. 

December  3 1  and  January  i  are  also  kept  by  the  solemn  singing 
of  the  Te  Deum,  and  the  Veni  Creator. 

8.  GIACOMO  DEGLI  SPAGNOLI.— This  church  was  erected 
in  the  xii.  century  near  the  stadium  of  Alexander 
Severus,  now  Piazza  Navona,  by  the  Infante  Henry 
son  of  Ferdinand  III.  of  Spain. 

Its  present  fa9ade  is  on  the  Via  della  Sapienza.  It 
had  originally  14  altars,  all  of  which  have  been  re- 
moved, with  the  exception  of  a  beautiful  marble  tribune 
by  Sansovino,  and  a  marble  chapel,  the  work  of  San 
Gallo. 

The  Spaniards  sold  the  church  to  the  French  con- 
gregation, which  still  possesses  it,  and  has  restored  it. 

Ignatius  Loyola  and  Joseph  Calasanzio  lived  in  the 
vicinity  of  this  church,  in  a  hospice  for  Spanish  pilgrims. 

Feast  day. — July  25. 

JAMES  the  son  of  Zebedee,  called  the  Greater,  was 
brother  to  S.  John,  and  was  one  of  the  three  disciples 
chosen  to  be  present  at  the  transfiguration  and  again 
in  Gethsemane.  The  two  brothers  were  partners  in 
the  fishing  with  Peter  (Luke  v.  10).  They  were  twice 
rebuked  (Mark  x.  35  ;  Luke  ix.  55). 

James  was  the  first  Apostle  to  suffer  martyrdom, 
and  is  supposed  to  be  the  only  one  of  the  twelve  who 
died  before  the  transitus  of  Mary.  His  martyrdom  is 
recorded  in  Acts  xii.  2.  He  is  the  patron  saint  of 
Spain,  where  he  is  considered  to  have  been  the  son  of 
an  illustrious  baron  of  Galilee,  and  not  a  poor  fisher- 
man. Hence  we  find  him  in  Spanish  pictures  accoutred 
and  riding  on  a  fine  white  horse. 

8.  GIOACCHINO  is  the  name  of  the  new  church  in  the 
Prati  di   Castello   beyond   the  Tiber,  built  with  the 


236       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

offerings  of  Catholics  for  the  Jubilee  of  the  present 
Pope.     It  is  not  yet  completed. 

Feast  day. — The  Sunday  in  the  octave  of  the  Assumption. 

For  S.  Joachim,  see  p.  182. 

S.  GIOBGIO  IN  YELABBO  is  situated  in  the  region  known 
as  the  Velabrum,  the  valley,  at  one  time  a  marsh, 
between  the  Capitol  and  the  Palatine.  In  a  xiii. 
century  inscription  still  extant  on  the  portico,  the  first 
instance  occurs  of  the  corruption  of  this  name  to  the 
popular  Velum  Aureum. 

The  church  stands  close  to  the  arch  of  Janus  and 
the  remnant  of  Tarquin's  Cloaca  Maxima,  which  was 
popularly  called  the  "  Marrana  di  S.  Giorgio." 

The  foundation  of  S.  Giorgio  has  been  attributed  to 
Leo  II.  (682),  but  is  considerably  older,  this  pope 
only  restoring  an  existing  building,  adding  the  name 
of  S.  Sebastian  to  its  original  dedication. 

In  the  V.  century  it  was  known  as  de  Belabru*  and 
Gregory  the  Great  made  it  a  titular  church,  and 
ordered  the  monks  then  in  possession  to  restore  it.  It 
was  rebuilt  almost  from  the  foundations  under  Pope 
Zacharias  (741),  and  Pope  Gregory  IV.  (827)  decorated 
the  apse  with  mosaics  and  added  to  it  two  porticoes. 
Boniface  VIII.,  in  1295,  made  Cardinal  Stefaneschi 
titular  of  this  church,  and  by  his  desire  Giotto  decorated 
the  apse  with  frescoes,  which  have  all  disappeared 
through  barbarous  restorations. 

The  interior  has  nevertheless,  retained  its  basilica 
form.  The  nave  is  lined  by  16  ancient  columns  of 
marble  and  granite  taken  from  pagan  buildings. 

The  high  altar  of  marble  and  the  tabernacle,  are 
of  the  XIII.  century.  Beneath  is  the  confession 
decorated  with  Cosmati  mosaic  work.  Here  is  pre- 
served the  head  of  S.  George.  A  red  silk  banner  said 
to  be  his,  is  also  shown  on  the  feast  day. 

In  the  left  aisle  are  some  early  Christian  inscrip- 
tions and  a  marble  bas-relief.  Cardinal  Newman  was 
titular  of  this  church.  It  is  seldom  open,  except  on 
*  De  Rossi,  Inscr.  Christ.,  878. 


THE  CHURCHES  IN  ROME  237 

April  23,  and  on  the  day  after  Ash  Wednesday  for  the 
Station. 

Feast  day. — April  23. 

The  story  of  a.  oeoeqe  came  from  the  East  in  the 
middle  ages,  and  we  find  this  saint  associated  with  S. 
Maurice  and  S.  Sebastian,  representing  the  ideal  of 
knighthood  during  the  ages  of  chivalry. 

S.  George  was  a  native  of  Cappadocia  and  a  tribune 
in  the  Roman  army,  and  was  martyred  for  his  faith 
during  the  Diocletian  persecutions.  His  usual  attri- 
bute in  art,  that  of  the  dragon,  refers  to  a  legend  of 
his  having  slain  a  dragon  on  his  journey  to  Rome, 
which  was  devouring  the  population  of  a  village,  S. 
George  arriving  just  as  the  king's  daughter  was  being 
led  out  as  a  sacrifice.  S.  George  showed  undaunted 
courage  and  constancy  during  his  martyrdom,  which 
lasted  for  eight  days. 

The  particular  devotion  to  S.  George  in  England, 
dates  from  the  crusades  of  Richard  I.,  from  which  time 
he  became  her  titular  saint.  In  art  he  is  represented 
in  military  dress. 

S.   GIOVANNI   DECOLLATO,   or  DELIA   MISEEICORDIA.— 

This  church  in  the  region  of  the  Velabrum,  existed  under 
its  old  name  of  S.  Maria  in  Petrocia  in  the  be- 
ginning of  the  XIV.  century.  In  the  xv.  century 
some  pious  Florentines  attached  to  it  a  society  for 
exhorting  to  penitence  those  condemned  to  death,  and 
for  burying  their  bodies.  From  this  time  it  took  the 
name  of  S.  John  the  patron  of  the  Florentines,  della 
Misericordia,  or  S.  John  decollato  (decapitated),  which 
was  the  death  suffered  by  the  condemned. 

The  site  was  changed,  and  a  new  church  erected  in 
1588.  The  funds  of  this  congregation  have  been  con- 
fiscated by  the  present  Government  on  the  ground 
that  persons  are  no  longer  beheaded. 

S.  GIOVANNI  DE'  FIOEENTINI.— This  church  dedicated 
to  S.  John  Baptist,  in  the  Via  Giulia  near  the 
Tiber,  was  commenced  in  15 19,  and  was  built  by  the 


238       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Florentines  and  the  "  Company  of  Mercy."  This  con- 
gregation was  instituted  for  the  burial  of  the  dead 
during  the  pestilence  of  15 19;  being  reconstructed 
after  the  plague,  when  their  habit  was  changed  from 
black  to  blue.  The  church  was  built  partly  upon  the 
site  of  an  older  church  of  S.  Pantaleo,  and  in  the  region 
inhabited  by  Florentines  in  Rome,  and  where  their 
consul  lived.  It  was  designed  by  San  so  vino,  drawings 
for  its  construction  by  Michael  Angelo  being  preserved 
until  1720,  but  discarded  as  too  expensive.  It  was 
not  completed  until  1725,  when  Clement  XII.  added 
the  fa9ade,  by  Alessandro  Galilei. 

S.  PhiHp  Neri  was  rector  of  this  church,  and  annexed 
to  it  a  house,  of  which  the  original  refectory  and 
kitchen  remain.  The  former  still  contains  the  table 
and  seats  used  by  the  first  disciples  of  S.  Philip,  and 
here  is  an  inscription  of  Cardinal  Baronius,  who  held 
office  as  cook  of  the  convent,  originally  written  in 
charcoal,  and  afterwards  painted  :  "  Ccesar  Baronius 
coquus  perpetuus.''' 

Here  also  is  the  pulpit  from  which  S.  Philip 
preached. 

In  the  chapel  of  S.  Jerome  in  the  church,  the  third 
on  the  right,  is  an  altar-piece  of  S.  Jerome  praying, 
by  Santi  di  Tito,  and  of  S.  Jerome  writing  by  Cigoli, 
who  is  buried  in  the  church. 

In  the  right  transept  is  a  picture  of  SS.  Cosma  and 
Damian,  by  Salvator  Rosa. 

The  high  altar  is  designed  by  Pietro  da  Cortona ; 
the  vault  above  and  the  chapel  of  the  crucifixion  are 
painted  by  Lanfranco.  In  the  left  transept  is  a  paint- 
ing of  the  Magdalen,  by  Baccio  Carpi.  In  the  fifth 
chapel  on  the  left,  an  altar-piece  by  Santi  di  Tito  and 
frescoes  of  Pomarancio. 

Over  the  door  into  the  sacristy  in  a  niche,  is  a  re- 
cently found  statue  of  S.  John  Baptist,  said  to  be  by 
Donatello,  hitherto  hidden  and  forgotten  in  the  crypt 
of  an  old  church  of  S.  Orsola.  Carlo  Maderno  and 
many  Tuscans  are  buried  in  this  church. 


THE  CHURCHES  IN  ROME  239 

S.  GIOVANNI  A  POETA  LATINA. — This  interesting  little 
church  near  the  closed  Porta  Latina,  was  built  by  Pope 
Gelasius  (492-496),  and  rebuilt  by  Adrian  I.  in  772. 
Celestine  III.  again  reconsecrated  it  in  1191,  and 
restored  it  much  as  we  now  see  it.  Leo  II.  had 
affiliated  the  church  to  S.  Giovanni  in  Laterano,  and 
up  to  the  XV.  century  it  possessed  a  chapter  under 
an  archpriest,  at  which  date  its  goods  were  incorporated 
with  those  of  the  Lateran.  It  became  a  titular  church 
from  the  pontificate  of  Leo  X.,  and  from  the  time  of 
Lucian  II.  (1144-1145)  to  that  of  Boniface  VIII.  (1294- 
1303)  it  had  a  convent  of  Benedictine  nuns  attached 
to  it.  After  this  date,  the  chapter  of  the  Lateran  gave 
it  to  the  Trinitarians,  and  now  after  many  years  of 
abandonment,  it  belongs  to  the  French  Franciscan 
fathers  of  the  African  mission. 

The  church  is  entered  through  a  portico  with  4 
ancient  columns;  in  the  interior  are  10  pillars  of 
various  marbles  dividing  the  nave  from  the  aisles. 
Round  the  door,  and  decorating  the  altar,  are  some 
mosaics,  the  work  of  the  Cosma  family.  In  the  adjacent 
garden  is  a  x.  century  well,  which  originally  stood  in 
the  atrium  of  the  church  ;  around  it  can  be  read  the 
words  of  Isaiah,  "  Onines  sitientes  venite  ad  aquas  ego 
Stephanus  +  in  nomine  Pat.  et  Filii  is}-'' 

Close  to  the  church  is  a  small  circular  chapel  known 
as  S.  Giovanni  in  Olio,  which   by  Roman  tradition,  s.  Gio- 
is   supposed  to   mark    the   spot   where   S.  John   the  vanni  in 
Evangelist    was  thrown    into   burning  oil  before  his  ^*^°- 
banishment  to  Patmos  under  Domitian.     This  chapel, 
which  contains  a  handsome  terra-cotta  frieze,  was  re- 
built by  Bramante  in  1509  under  JuHus  II.,  and  at  the 
expense  of  a  French  prelate  Adam  whose  arms  and 
the  motto  "  av  plaisir  de  dieu  "  are  placed  upon  the 
architrave  of  the  door. 

Feast  days.^Ma.y  6  and  December  27. 

It  is  open  for  the  Station  on  the  6th  Saturday  in  Lent. 

For  the  account  of  S.  John  Evangelist,  see  p.  iii. 

88.  GIOVANNI  E  PAOLO. — This  interesting  and  ancient 


240       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

titular  church  stands  on  the  summit  of  the  CoeUan 
Hill.  It  was  built  in  the  iv.  century  upon  the  house 
History  of  the  martyrs  John  and  Paul,  by  Byzantius  a  senator, 
and  his  son  Pammachus,  a  friend  of  S.  Jerome,  and 
founder  in  398,  of  the  first  hospital  for  pilgrims  at 
Porto. 

According  to  usage,  this  church  was  first  known 
under  the  title  of  its  founder,  and  we  find  it  recorded 
as  "  Titulus  Bizantis "  in  the  synod  of  Pope  Sym- 
machus,  and  in  an  inscription  now  in  the  Lateran 
museum.  This  latter  is  of  the  date  of  Innocent  I. 
(402-417).  It  was  also  known  as  Titulus  Pammachii. 
The  church  was  first  restored  by  Pope  Symmachus  in 
the  V.  century,  and  again  under  Adrian  I.  (771-795), 
and  Leo  III.  (795-810).  An  inscription  consisting  of 
a  pontifical  diploma  concerning  certain  gifts  to  the 
church  still  exists,  affixed  to  the  wall  at  the  end  of 
the  right  aisle.  The  names  Constantinus  and  Gregory 
in  this  inscription  are  probably  those  of  Gregory  VII. 
and  of  some  unknown  individual  of  the  vii.  or  viii. 
century. '•' 

Nicholas  V.  (1447)  gave  the  church  of  Giovanni  e 
Paolo  to  the  Gesuati,  and  when  this  order  was  sup- 
pressed it  passed  to  the  Irish  Dominicans,  and  finally 
to  the  Passionist  Fathers  who  still  retain  it. 

The  anonymous  writers  of  the  pilgrims'  itineraries 
and  of  the  "  Acts  "  of  John  and  Paul,  state  that  they 
were  martyred  under  Julian  the  Apostate  in  their  own 
paternal  house  on  the  Ccelian,  that  they  were  there 
secretly  buried,  and  that  it  was  later  converted  into  a 
church,  where  their  bodies  rest  "  quiescant  in  basilica 
magna.''\  Another  group  of  martyrs,  Terentianus, 
Crispus,  Crispinianus  and  Benedicta  were  buried  beside 
them  later. 

In  the  VI.  and  vii.  centuries,  the  church  of  SS. 
Giovanni  e  Paolo  was  much  visited  and  venerated 
as  the  resting-place  of  these  martyrs,  and  the  tradition 

*  De  Rossi,  Bull.  Arch.  Christ.,  1873,  p.  36. 
t  Salzburg  Itinerary. 


THE  CHURCHES  IN  ROME  241 

with  regard  to  them,  and  the  accounts  of  the  early 
writers,  have  recently  received  remarkable  confirma- 
tion in  the  excavations  undertaken  by  Padre  Germano, 
a  Passionist  of  this  convent. 

These  excavations  have  brought   to  light  some  of  House  of 
the  most  interesting  remains  of  early  Christian  Rome,  John  and 
and  have  conclusively  proved  the  historical  value  of  ^^"'• 
the  traditions  concerning  these  martyrs  of  the  Coelian, 

Until  recently  the  only  indication  of  the  spot  of  the 
martyrdom  was  a  stone  in  the  nave  of  the  church,  with 
the  inscription  "Locus  martyrii  SS.  Joannis  et  Pavli  in 
adihus  propriis ;"  and  beneath  the  nave  were  some 
whitewashed  crypts,  used  during  the  last  century  for 
purposes  of  burial. 

Padre  Germano's  excavations  have  now  laid  bare  Excava- 
1 1  rooms  of  a  Roman  house  beneath  the  present  tions. 
church,  and  several  more  remain  to  be  unearthed. 
The  excavated  rooms  include  the  dining-room,  kitchen 
and  the  wine-cellar  which  is  still  filled  with  amphora 
for  wine,  bearing  the  Christian  monogram,  as  was 
customary  in  the  iv.  century. 

Some  of  the  rooms  are  decorated  with  iv.  cen- 
tury paintings  of  a  symbolic  character  not  hitherto 
found  except  in  Christian  cemeteries.  The  decorations 
of  one  room,  dances  of  cupids,  etc.,  are  of  a  date 
anterior  to  the  conversion  of  the  martyrs,  when  the 
house  was  doubtless  under  pagan  proprietorship.  Por- 
tions of  the  Roman  pavement  have  come  to  light ;  and 
large  and  small  terra-cotta  lamps,  some  of  which  have 
been  re-hung  in  situ,  with  various  terra-cotta  utensils 
have  been  found  in  the  rooms. 

At   a   higher  level  corresponding  with  the  second  Site  of 
story  of  the  house,  is  a  small  chamber  recognisable  as  martyr- 
the  spot  of  the  martyrdom  of  the  saints,  beneath  which    °^' 
their  bodies  were  probably  hidden.      This  chamber 
was  closed  at  the  end  by  a  wall,  in  which  was  cut  the 
fenestrella  confessionis,   in  order  that  the  faithful  could 
look  from  the  confession  above  upon  the  tomb  of  the 
martyrs.     On  the  walls  of  this  chamber  are  frescoes  Frescoes. 

16 


242       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Chapel. 


Cruci- 
fixion of 
IX.  cen- 
tury. 


Present 
church. 


Interior. 


representing  the  capture  and  martyrdom  of  the  saints. 
In  one  of  these,  three  saints  kneel  before  the  execu- 
tioner. Beneath  the  opening  or  fenestrella,  is  a  figure 
of  one  of  the  saints  with  two  figures  of  Christians 
kissing  his  feet,  all  surrounded  by  roses  and  palms. 
At  the  side,  is  the  martyrdom  of  Crispus,  Crispinianus 
and  Benedicta. 

Close  by  is  a  small  chapel  with  a  iv,  century  altar 
still  in  place,  and  near  it  a  stone  socket  for  the  oil 
lights. 

Some  of  the  rooms  were  decorated  at  a  later  period, 
and  in  one  is  an  interesting  Crucifixion  of  the  ix. 
century.  Christ  is  there  clothed  in  the  long  tunic  or 
colobio.  The  Madonna  and  Mary  Salome  stand  at 
the  right  of  the  cross,  S.  John  and  the  soldier  holding 
a  spear,  on  the  left.  On  the  arms  of  the  cross  are 
heads  of  angels. 

Lower  down  on  the  wall  to  the  left,  is  another 
group,  of  the  busts  of  three  soldiers  round  a  large  black 
garment,  and  the  words,  "  Super  Beste  mea  miserunt 
sortem." 

Another  fresco  in  excellent  preservation  of  this  period 
represents  Christ  between  the  archangels  Michael  and 
Gabriel  on  one  side,  and  SS.  Giovanni  and  Paolo  on 
the  other.     Their  names  are  written  beside  them. 

The  back  of  this  Roman  house  faced  the  side  of  the 
Hill  of  Scaurus,  and  this  portion  was  left  untouched 
when  the  basilica  was  built  upon  it  and  still  exists, 
with  its  windows  and  its  two  stories.  Upon  this 
side,  masonry  of  the  iv.  century  can  be  seen  from 
without. 

The  present  church  is  approached  by  a  xiii.  cen- 
tury portico  of  8  antique  columns.  On  the  fa9ade 
are  the  arms  of  the  German  Cardinal  Hencourt,  who 
restored  this,  his  titular  church. 

The  interior  has  lost  much  of  its  antique  character. 
Of  its  21  ancient  columns  only  lo  remain,  alternated 
with  masonry  piers,  which  support  a  modern  vaulted 
roof. 


THE  CHURCHES  IN  ROME  243 

It  probably  was  rich  in  Cosmatesque  work,  and 
in  the  xv.  century  we  read*  of  its  altar  decorated 
with  green  marble,  of  carved  marble  and  stonework 
in  the  tribune  and  upon  the  side-altars,  and  of  a  carved 
marble  choir  in  the  centre  of  the  nave. 

Portions  of  the  cosmatesque  pavement  still  remain  ; 
and  in  this  church  is  buried  Giacomo,  son  of  Angelo 
di  Niccolo,  and  probably  father  of  the  great  Cosma. 

On  the  right-hand  side  in  the  nave  is  the  stone 
marking  the  site  of  the  martyrdom  of  Giovanni  and 
Paolo. 

The  aisles  terminate  in  small  apses  ;  the  staircase  Aisles, 
leading  to  the  house  beneath  opens  into  the  chapel  at 
the  end  of  the  right  aisle,  that  of  S.  Saturninus.  In 
the  left  aisle  traces  of  frescoes  of  the  xii.  century 
have  been  found  beneath  the  whitewash.  The  vault  of 
the  tribune  is  decorated  with  frescoes  by  Pomarancio, 
and  behind  the  high  altar  is  a  picture  of  the  two 
martyrs. 

In  the  right  aisle  is  a  chapel  dedicated  to  S.  Paul  of  chapel  of 
the  Cross,  whose  rehcs  rest  under  the  altar.     It  was  S.  Paul  of 
richly  decorated  at   the  expense  of  Prince  Torlonia ;  ^^®  Cross, 
and  Cardinals  Manning  and  Howard  consecrated  it  in 
1880.     The  altar-piece  represents  the  ecstasy  of  the 
saint,  and  round  the  cupola  are  depicted  scenes  in  his 
Hfe  by  Benefiel.     The  altar  and  walls  of  the  chapel 
are  decorated  with  columns  of  Egyptian  alabaster  and 
rare  marbles. 

During  excavations  in  the  adjoining  orchard  in  1658, 
ruins  of  baths  with  leaden  pipes,  and  fragments  of 
columns  and  various  marbles,  were  found,  belonging, 
without  doubt,  to  the  house  of  SS.  John  and  Paul. 

The  remains  of  the  Temple  of  Claudius,  built  by  Bell- 
Agrippina  to  her  husband,  forms  the  base  of  the  bell  tower, 
tower  of  the  church  ;  it  dates  from  the  xiii.  cen- 
tury and  is  one  of  the  finest  in  Rome.  The  gardens 
of  the  convent  cover  the  whole  extent  of  the  ancient 
temple,  and  from  them  a  most  beautiful  and  interesting 
•  Vat.  Arch.     De  Eccl.  Urbis  Julii  Rosei  de  Horte. 

16 — 2 


244       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

view  is  obtained  over  the  city.  The  exterior  of  the 
tribune  of  the  church  is  interesting  from  its  dehcate 
Gothic  arches. 

Feast  day. — June  26.  The  feast  of  S.  Paul  of  the  Cross  is  also 
kept  in  this  church,  when  it  is  beautifully  decorated  with  flowers, 
on  April  28. 

It  is  opened  for  the  Station  on  the  ist  Friday  in  Lent. 

JOHN  AMD  PAUL  wcrc  two  Christian  gentlemen,  officers 
in  the  service  of  Constantia  daughter  of  Constantine, 
who  were  put  to  death,  as  we  have  seen  under  JuUan 
the  Apostate  in  362,  the  same  year  as  the  Roman 
martyr  Bibiana  ;  being  both  martyred  and  buried  in 
their  own  house  on  the  Coehan  Hill,  for  fear  of  the 
Christian  populace.  This  is  why  they  are  the  only 
martyrs  buried  within  the  city.  In  art  they  are  repre- 
sented in  the  dress  of  Roman  soldiers,  bearing  a  sword 
and  a  palm. 

S.  OIBOLAMO  DELIA  CABIXA,  near  Palazzo  Farnese, 
according  to  an  ancient  tradition  occupies  the  site  of 
the  celebrated  Paula's  house,  where  Jerome  often 
stayed.  No  church  dedicated  to  S.  Jerome  is  found  in 
the  most  ancient  catalogues,  and  Signor  Armellini  con- 
jectures that  he  was  not  popular  with  the  Romans  on 
account  of  his  austerity. 

The  Minor  Observants  here  until  1536,  were  then 
transferred  to  the  church  of  S.  Bartolomeo,  on  the 
island.  Clement  VII.  then  conceded  it  to  a  company  of 
noble  foreigners  instituted  by  himself,  occupied  in  works 
of  charity,  and  who  gave  to  it  the  name  of  delta  carita. 

S.  Philip  Neri  lived  in  the  annexed  house  for  thirty - 
three  years,  and  there  "  entertained  in  holy  converse  " 
S.  Ignatius  and  S.  Carlo  Borromeo.  The  church  was 
rebuilt  in  1600  under  Pius  IV. 

Over  the  high  altar  is  a  copy  of  Domenichino's  Com- 
munion of  S.  Jerome,  formerly  in  this  church. 

In  the  entrance  to  the  sacristy  are  some  good 
marble  monuments,  and  over  the  door  an  inscription 
stating  that  here  S.  Philip  began  his  oratory.  For 
S.  Jerome,  see  Part  III.  of  this  Handbook. 


THE  CHURCHES  IN  ROME  245 

S.  OBEGOBIO,  on  the  Coelian  Hill,  was  built  according  History. 
to  tradition,  upon  the  site  of  the  paternal  house  of 
Gregory  the  Great  (590-604)  who  gave  it  up  during 
his  own  lifetime  that  a  monastery  might  be  built,  which 
he  dedicated  to  S.  Andrew  the  Apostle,  in  whose  honour 
he  also  erected  a  church.  From  here  it  was  that  he 
sent  Augustine  to  England,  and  here  also  were  educated 
many  English  priests. 

In  the  atrium  of  Gregory's  monastery  were  paint- 
ings described  by  Johannes  Diaconus,*  and  repre- 
senting Peter  sitting  on  a  throne,  holding  the  father 
of  Gregory  by  the  hand,  and  his  mother  S.  Sylvia, 
sitting  with  an  open  book  on  her  knee.  In  an  apse 
was  a  portrait  of  Gregory  himself  wearing  the  square 
nimbus.  John  the  Deacon  dwells  upon  the  beauty  of 
Sylvia,  although  advanced  in  years. 

After  the  death  of  S.  Gregory,  the  monastery  fell 
into  disuse  until  the  time  of  Gregory  II.  (715-731), 
who  again  reopened  it,  and  built  another  phurch  on 
the  spot  in  honour  of  his  great  predecessor.  In  the 
Turin  Codex  we  learn  that  an  abbot  and  4  monks 
inhabited  the  house  in  the  xiv.  century,  which  was 
then  called  SS.  Gregory  and  Andrew. 

By  a  Brief  of  Gregory  XIII.,  the  monastery  was 
given  to  the  Camaldolese  monks  in  1573,  and  it  is  still 
the  residence  of  the  general  of  the  order. 

In  the  year  1633,  the  church  of  Gregory  II.  was 
restored  by  Cardinal  Scipio  Borghese  ;  and  the  fa9ade 
and  atrium  added  later  from  the  designs  of  Ferrari, 
entirely  changed  its  original  character.  It  was  again 
completely  renewed  in  1725, 

The  atrium  of  the  church,  decorated  with  Ionic  Atrium, 
columns  is  now  approached  by  a  fine  flight  of  steps. 
It  contains  some  interesting  monuments.  That  to  the 
right  on  entering,  is  to  Edward  Carne  an  English- 
man, Doctor  of  Civil  Law  of  Oxford,  ambassador  to 
Charles  V.,  and  afterwards  envoy  to  the  court  of 
Rome.  In  1530  he  served  on  the  commission  with 
•  Jo.  Diac,  Vita  S.  Greg.,  I.,  ch.  vi. 


246       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Interior. 


Chapel 

ofS. 

Gregory. 


Room 
of  S. 
Gregory. 


Cranmer,  formed  to  obtain  the  views  of  foreigners 
upon  Henry  VIII.'s  divorce.  He  was  recalled  from 
Rome  when  Elizabeth  suppressed  the  English  em- 
bassy there,  but  remained  in  the  city,  and  there  died 
in  1561. 

Under  the  colonnade  nearest  the  church  doors  is  a 
marble  monument  to  Anthony  and  Michael  Bonsius, 
Florentines,  of  the  xv.  century,  with  their  busts 
above ;  on  the  left-hand  side  a  tomb  of  the  Guidic- 
cioni  family  of  1643,  with  sculptures  of  the  xv. 
century. 

In  the  portico  are  frescoes  of  Pomarancio  represent- 
ing scenes  in  S.  Gregory's  life,  and  some  paintings 
removed  from  the  older  church.  On  piers  in  the  atrium 
are  two  modern  inscriptions  relating  to  the  history  of 
the  church. 

The  interior  has  retained  little  of  its  basiHca  form. 
The  16  ancient  columns  have  been  strengthened  by 
masonry  pilasters,  which  support  the  domed  roof 
painted  by  Costanzi. 

The  pavement  is  Alexandrine,  and  in  good  preserva- 
tion. 

The  chapel  at  the  extremity  of  the  right  aisle  is  that 
of  S.  Gregory.  The  altar-piece  of  the  saint  is  by  Sacchi, 
and  the  predella  beneath,  representing  S.  Michael  in  an 
oval,  with  the  apostles,  S.  Sebastian  and  S.  Antony, 
is  by  Signorelli.  The  bas-rehefs  on  the  marble  altar, 
which  are  of  the  xv.  century,  represent  Gregory  loosing 
souls  from  purgatory  by  his  prayers.  S.  Sebastian  is 
introduced  in  this  relief. 

Close  by,  is  the  entrance  into  a  tiny  room,  said  to 
have  been  preserved  from  the  house  of  Gregory,  con- 
taining a  fenestrella  with  relics,  and  decorated  with 
mosaic-work.  Here  is  shown  a  recess  where  Gregory 
is  said  to  have  slept,  and  his  marble  chair. 

At  the  high  altar  is  a  picture  of  the  Madonna  with 
SS.  Gregory  and  Andrew  in  glory,  by  Balestra. 

At  the  extremity  of  the  left  aisle  is  a  bronze  bust  of 
Gregory    XVI.,  abbot   of  the   monastery    before   his 


THE  CHURCHES  IN  ROME  247 

election  as  pope,  and  a  monument  to  Cardinal  Zurla, 
his  successor  as  head  of  the  order. 

Here  is  the  entrance  to  the  Salviati  chapel,  built  Salviati 
by  Cardinal  Salviati  from  the  designs  of  Volterra  and  Chapel. 
Carlo  Maderno.  This  chapel  contains  a  copy  of 
Sacchi's  picture  of  Gregory,  taken  from  here  during 
the  French  invasion,  and  now  in  England.  To  the 
left  is  a  marble  bas-relief  of  1469,  spoilt  by  gilding, 
representing  the  procession  instituted  by  Gregory,  and 
the  apparition  of  Michael  the  archangel  on  the  Castel 
S.  Angelo.  To  the  right  is  a  famous  Madonna,  which 
is  supposed  to  have  spoken  to  S.  Gregory. 

A  door  to  the  left  leads  into  the  garden,  in  which 
can  be  seen  ruins  of  the  Servian  wall.  In  this  garden 
are  three  little  chapels  opening  onto  a  single  colonnade, 
and  erected  by  Cardinal  Baronius. 

That  in  the  centre  is  dedicated  to  S.  Andrew,  and  Chapel 
stands  upon  the  site  of  the  original  church  with  this  °J  ^• 
dedication  built  by  S.  Gregory,  burnt  down  in  the 
fires  of  Robert  Guiscard,  and  rebuilt  by  Paschal  II. 
(1099-1118),  and  in  which  it  is  said  were  buried 
Sylvia  mother  of  Gregory,  and  his  aunts  Tarzilla  and 
Emiliana.  The  walls  are  decorated  with  two  famous 
frescoes  which  were  painted  as  rival  works  by  Guido 
Reni  and  Domenichino,  master  and  pupil.  That  of 
Domenichino  on  the  right  wall,  represents  the  flagella- 
tion of  Andrew  ;  that  on  the  left,  Andrew  adoring  his 
cross  on  the  way  to  his  martyrdom.  The  portrait  of 
Guido  is  introduced  in  the  turbaned  figure,  and  that 
of  Beatrice  Cenci  in  one  of  the  women  to  the  left. 
It  is  related  of  Domenichino  that  he  worked  himself 
up  to  a  state  of  violent  anger  while  painting  the 
executioners.  Over  the  altar  is  a  fresco  in  oils,  by 
RoncaUi,  of  the  Madonna  with  SS.  Andrew  and 
Gregory. 

The  chapel  to  the  right  contains  a  statue  of  S.  Sylvia  Chapel  of 
by  Cordieri,  and  in  the  tribune  above,  the   Eternal  ^  Sylvia. 
Father,  with  angels  playing  musical  instruments,  by 
Guido  Reni. 


248       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


S.  Sylvia. 


Chapel 
of  S. 
Barbara. 


Gregory. 


8.  SYLVIA  was  the  mother  of  Gregory  the  Great, 
and  a  woman  of  rare  endowments.  She  enriched  the 
Benedictine  monastery  at  Subiaco  with  many  gifts 
(bona),  conferring  on  it  also  the  Castrum  Apollonium. 

Feast  day. — November  5. 

The  chapel  to  the  left,  dedicated  to  S.  Barbara, 
contains  a  very  fine  sitting  statue  of  Gregory  placed 
here  by  Baronius ;  begun  by  Michael  Angelo,  and 
finished  by  Cordieri.  In  the  centre  is  the  antique 
marble  table  at  which  it  is  said  Gregory  sat  every 
day  with  twelve  poor  men  whom  he  served  himself. 
One  day  an  angel  appeared  and  sat  among  them. 
This  legend  is  recorded  in  an  inscription  in  verse,  and 
represented  in  a  fresco  upon  the  wall  by  Caracci.  It 
has  hence  been  the  custom  for  the  pope  to  serve  with 
his  own  hands  thirteen  poor  pilgrims  on  Holy  Thursday, 
a  custom  abandoned  in  1870. 

For  S.  Barbara,  see  p.  ig8. 

Excavations  are  now  going  forward  upon  the  Ccelian 
Hill,  which  may  throw  more  light  upon  the  history  of 
the  church  of  S.  Gregorio. 

Feast  day. — March  12. 

The  Station  at  this  church  is  on  the  ist  Friday  in  Lent. 

s.  0RE8ORY  THE  GREAT  is  the  ktcst  of  the  8  Fathers 
of  the  Church.  Born  in  Rome,  of  Roman  parents, 
S.  Sylvia  and  Gordian,  "  the  noblest  of  the  Senate 
and  the  most  pious  of  the  Church  of  Rome,"*  in  a.d. 
540,  he  was  taught  by  his  mother,  became  celebrated 
as  a  lawyer,  and  was  Praetor  of  the  city.  When  his 
father  died  he  converted  his  paternal  house  into  a 
monastery  and  his  wealth  to  charitable  purposes  and  in 
a  dreadful  plague  which  depopulated  the  city  he  fear- 
lessly tended  the  stricken  and  poor. 

He  was  called  on  by  acclamation  of  the  people,  as 
Ambrose  had  been  in  Milan,  to  succeed  Pope  Pelagius.f 

*  Gibbon,  Rise  and  Fall,  ch.  xlv. 

t  He  had  previously  been  created  a  levite  or  deacon  of  the 
city.  "  Diaconus  septimus  creatus  est  "  (Johannes  Diaconus  in 
Vita  Gregorii  Magni). 


THE  CHURCHES  IN  ROME  249 

As  one  of  the  Fathers,  he  helped  rather  to  form  the 
morals  than  the  intellect  of  Christians.  In  Rome  he  In  Rome, 
gave  his  attention  to  the  needy  and  suffering,  con- 
sidering that  he  was  personally  responsible  for  every 
soul  under  his  charge.  He  corrected  the  manners  of 
the  clergy,  and  advocated  their  celibacy.  He  made 
the  last  alterations  in  the  arrangement  of  the  mass, 
and  instituted  the  singing  ever  since  known  as  '  Gre- 
gorian.' He  understood  the  salutary  power  of  beautiful 
ceremonial  to  soothe  and  touch  and  heal,  but  also  to 
educate  and  civilize,  and  he  made  the  utmost  use  of 
the  capacities  of  the  Christian  Church  in  this  direction ; 
living  as  he  did  among  a  rude  and  afflicted  population, 
to  which  his  own  moral  elevation  was  vastly  superior. 

Hearing  that  a  beggar  had  died  of  hunger  in  the 
streets  of  Rome,  he  imposed  on  himself  a  sentence  of 
penance  and  excommunication,  and  did  not  say  mass 
for  several  days. 

Out  of  Rome,  he  upheld  the  dignity  of  the  Roman  Out  of 
Church,  which  he  calls  "  the  head  of  the  Faith,"  Rome. 
"  placed  over  all  churches  by  the  authority  of  God." 
Himself  he  calls  the  Pilot  of  the  Ship,  the  Church.* 
He  recognised  the  Patriarchate  of  Constantinople:! 
the  connection  of  Rome  with  the  patriarchates  was, 
naturally,  not  so  close  as  its  relation  to  the  Western 
sees ;  it  was  mainly  confined  to  cases  of  appeal.  But 
to  John  of  Syracuse,  in  his  ixth  Epistle,  he  says : 
"  Concerning  what  they  say  about  the  Church  of 
Constantinople,  who  doubts  that  it  is  subject  to  the 
Apostolic  See  ?"J 

He  was  a  fervent  missioner — he  is  also  the  only 
Roman  missioner  we  know  of — but  resisted  the  perse- 
cuting spirit.  To  him  is  due  the  conversion  of 
England  at  the  beginning  of  the  vii.  century ;  a 
mission  he  had  desired  to  personally  accomplish. 
The  earliest  and  fullest  biographies  of  Gregory  have  The  bio- 
graphies 
*  Epistles  iii.,  vii.,  xiii.  of 

+  See  Patriarchates  in  Part  IV.  Gregory. 

I  See  also  the  letter  to  the  Bishop  of  Alexandria. 


250       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


His  doc- 
trine of 
purgatory 

His 
charity. 


Subjects 
in  art. 


The  judg- 
ment of 
Trajan. 


been  traced  by  Herr  Ewald  to  England.  The  Life 
found  at  S.  Gallen  by  Canisius  and  by  him  pronounced 
to  be  of  no  value,  is  in  fact  the  English  Life.''  Ten 
of  its  thirty-two  chapters  are  devoted  to  England, 
with  a  digression  about  the  affairs  of  Northumbria. 
Gregory  is  called  "noster  Gregorius,"  "  Magister,"  and 
"  Apostolicus  noster."  Paulinus  is  "  Doctor  noster," 
and  Edwin  is  "  Rex  noster."  The  stories  of  the  Pope's 
words  "  non  angli  sed  angeli,"  and  Deira,  De  ird,  here 
narrated,  have  therefore  an  English  origin,  and  were 
first  told  in  England.  The  Life  compiled  by  Johannes 
Diaconus  at  the  instance  of  John  VIIL,  about  a.d.  752, 
more  than  once  refers  to  the  Saxon  Lives  :  and  the 
pope  wished  a  Roman  Life  to  be  written,  because 
while  the  Saxons  and  Lombards!  possessed  lives  of 
Gregory,  his  own  church  possessed  none. 

S.  Gregory  insisted  on  the  doctrine  of  purgatory, 
where  souls  suffered  in  order  to  acquire,  and  where 
many  whom  others  thought  lost,  would  be  purified. 
His  charity  was  boundless.  Thousands  were  daily 
fed  by  him  ;  and  a  beautiful  legend  tells  us  that  one 
day  when  he  was  feeding  the  twelve  poor  men  who 
daily  dined  at  his  board,  a  thirteenth  appeared,  who 
was  Christ  Himself.  This  subject ;  the  miracle  of  the 
brandeum  represented  in  S.  Peter's ;  Gregory  releasing 
souls  from  purgatory  by  his  prayers  ;  the  appearance  of 
Michael  during  the  Great  Procession  in  the  plague  of 
Rome  ;  Gregory  sending  Augustine  to  England  ;  and 
Gregory  seeing  the  Anglo-Saxons  in  the  market-place 
of  Rome,  have  all  been  represented  in  art.  The  pope 
is  represented  in  cope  and  tiara,  with  a  dove  at  his 
ear,  emblematic  of  the  Holy  Spirit  inspiring  him. 

It  is  recorded  of  Gregory  that  reading  one  day  the 
story  of  the  Emperor  Trajan's  justice,  he  wept  bitterly 
to  think  that  such  a  soul  should  be  lost.  The  story  is 
that  Trajan  left  the  head  of  his  legions  when  hastening 

*  Current  in  the  ix.  century. 

+  A  collection  of  Gregory's  Letters  bears  the  name  of  Paulus 
Diaconus,  the  historian  of  the  Lombards. 


THE  CHURCHES  IN  ROME  251 

to  battle,  at  the  cry  of  a  poor  woman  who  called  on 
him  to  do  her  justice  ;  for  her  son  had  been  killed  by 
the  emperor's  son,  and  Trajan  delivered  his  own  son 
to  her  in  his' stead.  Moved  at  this  great  act  of  justice, 
Gregory  entered  a  church  and  prayed  for  Trajan's 
soul,  and  received  an  answer  that  his  prayer  was 
heard.  But  Gregory  endured  ever  after  great  bodily 
infirmity,  having  chosen  this  in  exchange  for  the  gift 
of  the  emperor's  soul,  in  preference  to  enduring 
purgatory.  The  3  Judgments  hence  often  appear  in 
art :  the  Judgment  of  Solomon,  of  Daniel,  and  of 
Trajan. 

Gregory  died  a.d.  604,  after  thirteen  and  a  half 
years'  pontificate.  He  lived  in  a  credulous  age,  and 
was  himself  credulous.  He  had  no  wide  or  profound 
knowledge  ;  but  while  he  was  the  enemy  of  such 
attainments,  he  was  the  friend  of  every  sentiment  and 
instinct  which  can  elevate  human  nature. 

No  contemporary  has  left  such  copious  writings.  Gregory's 
The  Liber  Moralium  is  the  greatest  work.  Modern  writings, 
editions  of  his  Letters  give  850.  He  left  also  40 
Homilies  on  the  Gospels,  2  Books  of  Homilies  on 
Ezekiel,  a  commentary  on  the  First  Book  of  Kings, 
an  Exposition  of  Canticles,  of  the  7  Penitential 
Psalms,  writings  on  the  Heptateuch,  Prophets, 
Proverbs,  the  morals  •  of  Job,  a  Pastoral  Rule,  an 
Antiphonary. 

8.  GIUSEPPE  DE'  FALEGNAMI  is  the  name  of  the  church 
over  the  Mamertine  prisons.  It  was  restored  at  the 
expense  of  Maria  Anna  Ludovisi,  nun  at  the  convent 
of  Tor  de'  Specchi,  and  contains  a  picture  of  the 
Nativity,  by  Maratta.  Annexed  to  it,  is  an  oratory 
of  the  guild  of  carpenters,  upon  the  altar  of  which  are 
4  fine  columns  of  jasper. 

8.  JOSEPH. — During  the  first  1600  years  of  the  church's 
history,  S.  Joseph,  the  spouse  of  Mary,  was  never  placed 
prominently  before  the  people.  The  spirit  of  the  earUest 
art  represented  him  in  subordinate  positions,  leading 


252       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

the  donkey  into  Egypt,  or  standing  by  while  the  shep- 
herds pay  their  homage. 

The  saint  most  venerated  was  S.  John  Baptist,  on 
account  of  Christ's  words  concerning  him. 

S.  Joseph  is,  then,  not  named  in  any  ancient  Hturgy, 
nor  was  his  name  inserted  in  the  martyrologies  of  East 
or  West  till  the  ix.  century.  No  mediaeval  church 
is  dedicated  to  him,  nor  does  his  name  ever  occur  in 
the  inscriptions  on  bells.  He  is  never  mentioned  by 
that  singer  of  the  saints,  Dante. 

But  from  the  pontificate  of  Gregory  XV.  (1621)  the 
devotion  to  S.  Joseph  began  to  grow.  S.  Theresa  had 
dedicated  her  convent  to  him  60  years  earlier,  and 
since  1815  especially  the  prominence  of  S.  Joseph  as  a 
saint  has  been  gradually  increasing  to  what  it  now  is. 
In  1847  Pius  IX.  extended  his  feast  to  the  whole 
church,  and  in  1871  the  same  pope  placed  all  the 
faithful  "  under  his  patronage."  He  is  called  the 
Patriarch  Joseph,  and  Patron  of  the  Catholic  Church. 

The  image  of  S.  Joseph  does  not  occur  among  those 
placed  on  the  ikonostasis  in  the  East.  Yet  the  earliest 
feast  of  his  name  was  perhaps  kept  by  the  monophysite 
Copts  of  Egypt ;  and  near  Memphis  they  have  an 
ancient  church  in  memory  of  the  abode  there  of  Jesus, 
Mary  and  Joseph,  which  event  is  probably  the  cause 
of  their  cult  for  the  Lord's  foster-father.  Early  Irish 
invocation  of  this  saint  is  mentioned  in  Bishop  Healy's 
"  Insula  Sanctorum." 

S.  Joseph  is  of  course  the  Patron  of  carpenters ; 
a  church  in  Rome  is  dedicated  to  "  S.  Joseph  of  the 
Carpenters,"  and  he  was  Patron  of  the  Guild  of 
Carpenters  at  Liege  and  at  Ghent. 

In  churches  now  we  frequently  see  representa- 
tions of  Joseph  with  Jesus  in  his  arms — a  piece  of 
modern  realism  which  misses  both  the  theological  and 
mystical  significance  of  the  "  Madonna  and  Child,"  and 
possesses  neither  its  human  nor  divine  beauty. 

The  feast  day  of  S.  Joseph  is  March  19,  and  the  feast 
of  his  Patronage  falls  on  the  3rd  Sunday  after  Easter. 


THE  CHURCHES  IN  ROME  253 

He  is  represented  old,  or  at  least,  white-haired,  and 
in  modern  pictures  carries  a  lily,  the  symbol  of  purity, 
in  his  hand, 

S.  I6NAZI0,  the  church  of  the  Jesuits,  adjoins  the 
Collegio  Romano.  It  was  built  at  the  expense  of 
Cardinal  Ludovisio  Ludovisi  in  1626.  It  was  finished 
after  his  death  by  money  left  for  the  purpose  in  his 
will.  The  cupola  was  never  finished,  and  is  now 
replaced  by  the  observatory  of  the  Collegio  Romano. 

The  church  was  designed  by  Domenichino,  but  the 
designs  were  much  modified  by  Padre  Grassi  the 
Jesuit.  It  is  huge  and  uninteresting.  The  heavy 
travertine  fagade  is  by  Algardi.  The  nave  is  divided 
from  the  aisles  by  6  heavy  pilasters  encased  in  white 
stucco. 

The  chapel  in  the  left  transept  is  dedicated  to  Louis  Chapel  of 
Gonzaga,    whose    remains    rest   in   an    urn   of    lapis  S-  Louis 
lazuli  under  the   altar.      This   chapel  was   designed  ^°^^^S^- 
by  Padre  Pozzi,  and  erected  at  the  expense  of  the 
Lancellotti  family.     Above  the  altar  is  a  marble  group 
of  the  saint  among  angels  by  Le  Gros. 

At  the  end  of  the  right  aisle  is  the  monument  of 
Gregory  XV.  by  Le  Gros,  and  beneath,  the  tomb  of 
Cardinal  Ludovisi. 

The  paintings  in  the  tribune  are  also  by  Padre 
Pozzi :  in  the  vault  of  the  tribune,  the  triumph  of 
Louis  Gonzaga  in  heaven  ;  below,  scenes  in  the  life 
of  S.  Ignatius. 

In  the  chapel  in  the  left  transept  is  a  marble  bas- 
relief  of  the  Annunciation  by  Filippo  Valle,  and 
beneath  the  altar,  the  tomb  of  S.  John  Berchmans. 

A  huge  statue  of  S.  Ignatius  stands  in  the  chapel 
at  the  end  of  the  right  aisle. 

Feast  day.— July  31. 

For  S.  Ignatius,  see  Part  III.,  treating  of  Religious  Congrega- 
tions. 

S.  ISIDOBO. — This  church  at  the  summit  of  Capo  le 
Case,  and  commanding  a  fine  view  over  Rome,  owes  its 
origin  to  the  canonization  of  five  saints  by  Gregory  XV. 


254        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

in  1622,  among  them  the  Spanish  S.  Isidore.  In  this 
year  a  company  of  Spanish  reformed  Franciscans 
came  to  Rome  and  built  the  present  church  and 
convent.  The  Spanish  friars  left  after  two  years, 
and  the  convent  passed  to  Friar  Luke  Wadding  and 
the  Irish  Franciscans  who  still  remain. 

The  beautiful  gardens  of  the  convent  have  been 
sadly  curtailed  by  the  formation  of  the  new  Ludovisi 
quarter.  The  church  which  is  reached  through  the 
Via  degli  Artisti,  is  approached  by  a  double  flight 
of  steps  and  a  picturesque  portico.  It  contains  many 
paintings  by  Maratta. 

In  the  first  chapel  to  the  right  are  paintings  of  S. 
Joseph  by  this  artist  ;  close  by  is  the  tomb  of  Luke 
Wadding  first  prior  of  the  convent,  ob.  1657.  At 
the  high  altar  are  two  columns  of  Oriental  alabaster 
and  a  painting  of  S.  Isidore  by  Sacchi. 

In  the  left  transept  are  monuments  to  Miss  Brian 
an  English  lady,  by  Gajassi,  and  to  Amelia,  daughter 
of  John  Curran. 

In  the  right  transept  is  an  Annunciation  by  Maratta. 
A  Crucifixion  by  the  same  painter  is  kept  in  the 
sacristy.  The  Piombino  chapel,  the  first  on  the  left, 
is  also  painted  by  him. 

The  library  of  the  adjoining  convent  possesses 
some  Irish  MSS.  of  interest. 

On  the  fa9ade  of  the  church  are  two  statues  of  S. 
Isidoro  and  S.  Patrick.  S.  Patrick  and  S.  Bridget  are 
frescoed  in  the  portico,  with  Irish  inscriptions. 

Feast  day. — The  feast  day  of  S.  Patrick  is  kept  at  this  church, 
March  17 ;  of  S.  Isidoro,  May  15. 

8.  ISIDORO,  AGRicoLA,  is  the  patroH  of  Madrid,  and  also 
of  those  who  cultivate  the  soil.  He  was  a  plough- 
man, and  could  neither  write  nor  read.  He  was  hired 
to  a  hard  master  who  constantly  blamed  him  for  his 
sanctity  and  his  charities.  One  day,  says  the  legend, 
his  master  going  into  the  fields  to  seek  him,  that  he 
might  find  some  fault  with  him,  beheld  him  praying, 
while  two  angels  drove  the  plough. 


THE  CHURCHES  IN  ROME  255 

In  art  S.  Isidoro  is  represented  as  a  ploughman 
with  a  spade,  two  angels  ploughing  in  the  background. 

S.  LORENZO  IN  DAMASO. — This  celebrated  church, 
the  ancient  basilica  Laurentiana,  was  erected  near  the 
theatre  of  Pompey  by  Pope  Damasus  (366-384)  in 
honour  of  the  great  martyr  Laurence.  It  is  one  of  the 
2  basilicas  attributed  to  him  by  the  Liber  Pontificalis.  History. 
Until  the  viii.  century  the  Damasian  inscription 
could  be  read  round  the  semicircle  of  the  apse,  and  here 
were  kept  the  archives  of  the  Roman  Church  until 
they  were  transferred  to  the  Lateran.  Another  ancient 
name  for  this  basilica  was  in  prasino.  The  Damasian 
basiUca  faced  towards  the  Via  del  Pellegrino,  and  was 
entered  by  a  double  portico.  Its  nave  was  divided 
from  the  aisles  by  rows  of  columns,  but  by  a  peculiar 
construction,  planned  by  Damasus  and  referred  to  by 
him,  the  rectangular  transept  instead  of  being  placed 
before  the  apse,  was  placed  behind  it,  forming  an  addi- 
tional portico.  Thus  the  central  nave  had  porticoes  on 
all  its  sides,  and  it  was  in  these  that  the  archives  were 
kept. 

The  basilica  was  restored  by  Adrian  I.  (771)  and 
Leo  III.  (795).  In  the  middle  ages  it  enjoyed  many 
privileges.  By  a  Bull  of  Urban  III.  of  1186,  66 
churches  were  placed  under  its  jurisdiction.  It  also 
enjoyed  until  the  end  of  the  last  century,  the  privilege 
of  the  font,  being  declared  matrice,  the  parishioners 
of  all  the  subject  parishes  being  obliged  to  go  to  S. 
Lorenzo  for  baptism.  In  1617  the  parish  consisted  of 
3,410  souls.  In  1660'''  S.  Lorenzo  had  21  affiliated 
parishes.  It  was  the  titular  church  of  a  cardinal  priest, 
and  was  chapteral.  This  interesting  basilica  was  unfor- 
tunately pulled  down,  and  the  present  church  was  built 
at  some  Uttle  distance  from  it,  and  within  the  Cancelleria 
palace,  by  Cardinal  Riario,  in  i486.  It  has  again 
been  restored  quite  recently.  During  the  French  oc- 
cupation  it  was  used  as  a  court  of  justice,  and  the 

*  Vat.  Arch.,  Stato  temp,  delle  Chiese,  ii.,  p.  254. 


Chapels 
on  right. 
II. 


III. 


High 
altar. 


Damasus. 


256       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

chapter  was  transferred  to  S.  Andrea  della  Valle,  but 
was  reinstated  by  Pius  VII.  The  church  of  the  xv. 
century  was  designed  by  Bramante,  and  was  restored 
under  Pius  VII.  by  Valadier.  The  frescoes  upon  the 
walls  of  the  nave,  by  Cav.  d'  Arpino,  representing  the 
life  of  S.  Laurence,  have  been  restored  and  repainted. 
The  tribune  was  raised  by  Cardinal  Barberini,  and 
was  designed  by  Bernini, 

In  the  first  chapel  on  the  right  is  a  painting  by 
Conca.  A  large  chapel  enclosed  with  glass,  which  is 
the  winter  choir  of  the  canons,  contained  the  crucifix 
which  spoke  to  S.  Bridget,  now  in  S.  Paolo  Fuori. 
In  this  chapel  is  an  altar-piece  of  a  dead  Christ,  by 
Bracci,  and  some  sepulchral  monuments.  The  chapel 
next  to  if  was  originally  painted  by  Pietro  da  Cortona, 
and  contained  an  ancient  picture  of  the  Madonna. 

The  picture  of  the  high  altar  is  by  Zucchero. 

The  church  contains  the  sepulchral  monuments 
of  some  of  the  Massimo  family ;  of  Pellegrino  Rossi, 
minister  of  Pius  IX.,  who  was  murdered  in  1849  ;  of 
Annibale  Caro,  the  poet,  1566 ;  and  of  General  Ceprara, 
captain  of  the  Papal  forces  under  Pius  VI.  There  is 
a  chapel  of  S.  Carlo  Borromeo  in  the  sacristy,  with  his 
statue  by  Stefano  Maderno. 

Feast  day.— The  feast  day  of  S.  Lorenzo,  August  10,  is  kept  in 
this  church  ;  that  of  Damasus,  December  11. 
The  Station  is  on  the  4th  Tuesday  in  Lent. 

DAMAsuB,  who  succceded  Liberius  October  i,  a.d. 
366,  has  left  many  traces  of  himself  in  the  eternal  city, 
and  has  been  called  "  the  Pope  of  the  Martyrs  and 
of  the  Catacombs."  The  pontificate  of  Damasus 
lasted  18  years.  According  to  Gregorovius  he  was  a 
Portuguese,  and  related  to  the  Spanish  Laurence.  He 
was  a  scholar  and  student,  and  to  him  is  due  the  foun- 
dation of  the  first  Christian  library,  on  the  present 
site  called  after  him  S.  Lorenzo  in  Damaso.  The 
story  of  his  election  is  not  edifying  :  Jerome  admits 
that  most  cruel  massacres  (interfectiones)  of  both 
sexes  were  perpetrated.     Two  presbyters  of  the  party 


THE  CHURCHES  IN  ROME  257 

of  his  rival  Ursicinius,  declare  that  Damasus  marched 
at  the  head  of  the  clergy  and  fossors,  with  the  charioteers 
and  hired  gladiators,  to  do  battle.  But  it  is  not  neces- 
sary to  believe  this.  His  pagan  friend  the  Prefect 
Vettius  Agorius,  had  to  intervene,  and  establish  Da- 
masus in  the  episcopate.  The  exceeding  luxury  of 
the  bishop  and  clergy  of  Rome,  which  made  the 
papacy  so  desirable,  was  excused  on  the  ground  of 
the  importance  of  the  city.  And  this  was  100  years 
after  the  sufferings  of  the  deacon  Laurence,  and  only 
50  years  after  the  last  persecution  of  the  Church  ! 
At  that  day  the  Pope  of  Rome,  Damasus,  is  called 
by  his  contemporaries,  "  the  ladies'  ear-scratcher "; 
the  gifts  of  matrons  being  the  chief  source  of  the 
popes'  wealth  in  the  iv.  century  !  Corruptio  optimi 
pessima.  There  is  nothing  worse  than  the  corruption 
of  a  good  thing.  The  pagan  Ammianus  Marcellinus 
speaks  of  the  splendour  of  the  capital,  and  does  not 
wonder  at  men's  thirst  to  be  elected  its  bishop.  He 
compares  the  Bishop  of  Rome  with  "  the  exemplary 
life  of  some  provincial  bishops,"  their  mean  dress,  and 
humility,  their  "  pure  and  modest  virtue."  At  about 
the  same  period  Gregory  Nazianzen  derided  the  pride 
and  luxury  of  theEastern  prelates,  and  averred  that  the 
crowd  gave  way  to  their  gilt  car  and  dashing  steeds  as 
to  a  wild  beast.  In  spite  of  all  the.  adverse  criticism 
of  the  character  of  Damasus,  De  Rossi  has  done  much 
to  uphold  his  excellence  and  real  greatness,  the  great- 
ness of  "  un  vero  erudito."  For  other  references  to 
Damasus,  see  Catacomb  of  Callistus,  p.  127,  and  5.  Maria 
Maggiore,  p.  135.  He  died  December  11,  384,  in  the 
reign  of  Valentinian  II. 

S.  LOBENZO  IN  LTJCINA  is  one  of  the  very  interesting 
Roman  churches,  since,  though  its  precise  origin  is  not 
known,  it  was  doubtless  a  site  in  possession  of  one  of 
the  Lucinas,  perhaps  the  Domus  of  a  Lucina  of  the 
III.  century,  and  a  resort  of  the  faithful.  Gregorovius 
dates  it  before  Honorius  (395).  The  clergy  and  people 
of  Rome  are  said  to  have  met  on  the  death  of  Liberius 

17 


258       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Inside. 


Poussin's 
tomb. 


Guide's 
Cruci- 
fixion. 


in  the  titulus  Lucina  to  elect  Damasus  (a.d.  366)/''  and 
it  was  called  the  Title  of  Lucina  in  499,  its  titular 
subscribing  to  the  Synod  of  Symmachus.  By  the 
VI.  century  there  was  a  Station  indicated  for  this 
basilica. 

Of  the  basilica  form  nothing  remains  but  the  front, 
with  its  portico  sustained  by  6  Ionic  columns.  Two 
mediaeval  lions  are  almost  walled  up  in  the  doorway, f 
and  are  a  great  resource  to  the  poor  children  of  the 
Piazza.  An  inscription  of  the  same  period,  of  the 
antipope  Anacletus  II.  (1130  a.d.)  appears  here  also. 
This  interesting  church  has  been  the  victim  of  restora- 
tion. About  A.D.  685  it  was  restored  by  Benedict  II. ; 
then  in  780  by  Adrian  ;  and  in  1196  by  Celestine  III., 
who  reconsecrated  it.  Long  inscriptions  within  record 
these  alterations,  and  the  relics  possessed  by  the 
church.  But  the  entire  renewal  administered  to  it 
in  the  xvii.  century  has  been  its  coup  de  grace. 
The  nave  is  flanked  by  5  wide  chapels  on  either  side, 
which  lead  into  one  another.  The  second  chapel  on 
the  right,  contains  the  miraculous  Madonna  of  Good 
Counsel  (Buon  Consiglio).  On  the  second  pier  to  the 
right  is  the  tomb  of  Nicholas  Poussin,  erected  by 
Chateaubriand  when  French  ambassador  at  Rome. 
The  bas-relief  represents  Poussin's  well-known  land- 
scape, the  Discovery  of  the  Tomb  of  Sappho  in  Arcadia. 
The  fourth,  is  a  handsome  chapel  of  red  and  black 
marble.  The  High  Altar  is  under  a  baldacchino  with 
black  marble  pillars,  designed  by  Rainaldi ;  and  here 
is  Guido  Reni's  famous  painting  of  the.  Crucifixion.  On 
the  left,  the  fourth  chapel  has  3  pictures  by  Marco 
Benefiel,  of  S.  Francis  and  Franciscan  saints.  The 
second  is  a  rich  little  chapel,  with  a  crucifixion  of 
Peter.  On  this  side,  as  we  enter,  is  Celestine's  inscrip- 
tion, the  Archbishop  of  York's  name  heading  the  list 
of  prelates  present  at  the  reconsecration  of  the  church. 

*  Others  say  it  was  founded  by  Sixtus  III.  (432). 
1   Stone  lions,  sometimes  with  a  man  in  their  mouths,  are  often 
found  in  the  porches  of  Lombard  churches.     See  also  p.  398. 


THE  CHURCHES  IN  ROME  259 

Paul  V.  gave  it  to  the  regular  clerics  minor,  who  re- 
stored it  in  1650,  as  we  now  see  it ;  it  is  now  possessed 
by  the  Franciscans,  and  is  a  parish  church.  It  is  also 
the  first  presbyteral  title  of  the  city.  Among  its  reUcs 
is  the  craticiila  on  which  it  is  believed  S.  Lorenzo 
suffered  ;  but  as  will  be  seen,  and  as  is  noted  by  Signor 
Armelhni,  it  is  of  very  small  proportions.  Here  also 
are  the  relics  of  the  Lucina  of  the  iii.  century  who 
buried  Sebastian,  which  are  exposed  on  her  feast 
day. 

Feast  days. — S.  Lorenzo,  August  10  ;  S.  Lucina,  July  7. 

The  Station  on  the  4th  Friday  in  Lent. 

During  excavations  made  here  in   1872,  some  viii.  Discovery 
century  tombs  were  found  belonging  to  the  exhedra  of  inscrip- 
and  portico  of  the  church.     One  of  the  time  of  Adrian  t^°"- 
(783)  was  to  a  deacon  Paul ;  the  fragment  of  a  Damasine 
inscription  was  found  at  the  same  time. 

S.  LOBENZO  IN  MIEANDA,  in  the  Forum  Romanum, 
is  built  within  the  cella  of  the  Temple  of  Antoninus 
and  Faustina,  whose  portico  forms  that  of  the  church. 
It  is  possibly  connected  with  the  life  of  S.  Laurence, 
as  its  dedication  would  suggest,  and  it  was  perhaps 
erected  upon  the  site  of  his  trial,  as  the  town  Pre- 
fecture, where  many  martyrs  were  tried  and  con- 
demned, is  said  to  have  been  close  to  this  spot. 

The  church  dates  probably  from  the  vi.  or  vii. 
century,  though  it  has  been  entirely  altered  and 
its  original  form  lost,  and  it  now  contains  little  of 
interest. 

The  name  "  Miranda"  is  probably  that  of  some  bene- 
factress in  the  middle  ages,  and  is  not  due  to  the 
wonders  of  the  Forum,  as  has  been  ignorantly  sup- 
posed. 

The  church  possessed  a  chapter  and  a  monastery ; 
the  former  was  suppressed  by  Martin  V.  in  1430,  and 
the  church  was  given  to  the  Guild  of  Apothecaries, 
who  founded  a  hospice  for  the  youths  of  their  guild, 
and  built  several  small  chapels  among  the  pillars  of 
the  portico  ;  these  were  destroyed  during  the  prepara- 

17 — 2 


26o       CHRISTIAN  AND  ECCLESIASTICAL  ROME  ^ 

tions  for  Charles  V.'s  visit  to  Rome.  The  church 
was  rebuilt  in  1602  from  Torriani's  designs.  It  con- 
tains an  altar-piece  of  the  martyrdom  of  Laurence  by 
Pietro  da  Cortona,  and  a  picture  in  the  first  chapel  on 
the  left  by  Domenichino. 

S.  LOEENZO  IN  PANISPEENA,  OS  IN  FOEMOSA. — This 
church  on  the  Viminal  Hill  is  built,  according  to 
tradition,*  upon  the  spot  of  Laurence's  martyrdom, 
and  is  mentioned  in  the  '  Acts '  of  the  saint,  and  is 
described  by  Gregory  of  Tours.  It  certainly  originated 
in  the  first  years  of  the  Peace  of  the  church,  and  was 
later,  one  of  the  privileged  abbeys  of  Rome. 

Boniface  VIII.  restored  it  in  1300,  and  Leo  X. 
made  it  a  titular  church.  In  1575  it  was  almost 
rebuilt  by  Guglielmo  Sirleto,  its  titular  cardinal. 
Cardinal  Colonna  again  rebuilt  it,  and  established  a 
convent  of  nuns  of  the  Clarisse  order  in  the  adjacent 
house. 

The  origin  of  its  name  is  obscure.  It  was  called  in 
Formosa  in  the  ix.  century.  It  is  first  mentioned  under 
the  name  of  Panisperna  in  a  xiv.  century  inscription 
preserved  in  Galetti's  schedule  in  the  Vatican  Library.! 
The  name  may  have  been  derived  from  a  Roman 
family  Perpenna,  and  an  inscription  to  a  member  of 
this  family  existed  in  the  church. 

A  subterranean  chapel,  entered  from  an  outside 
door  on  the  right-hand  side  of  the  church,  is  said  to 
mark  the  spot  of  S.  Laurence's  martyrdom  and  death. 
Here  a  record  of  its  consecration  in  1383  is  affixed  to 
the  wall. 

It  is  narrated  in  a  Bull  of  Boniface  IX.  (1389- 1404) 
that  S.  Bridget  used  to  come  daily  to  beg  at  the  ad- 
joining convent ;  a  chapel  (the  second  to  the  left  in 
the  church)  is  dedicated  to  her,  and  here  her  body 
was  originally  laid.  The  body  of  S.  Victoria  in  a  glass 
case  is  now  beneath  the  altar  of  this  chapel.  Mem- 
bers of  the  Orsini  and  Colonna  families  are  buried  in 

*  Anon,  de  Mabillon,  and  Johannes  Diaconus,  de  F.ccl  LaUran, 
t  Miscell.  0.,  vii.,  p.  178. 


THE  CHURCHES  IN  ROME  261 

the  church.     Here  Leo  XIII.  was  consecrated  bishop 
in  1843,  on  February  ig. 

It  is  opened  for  the  Station  on  the  2nd  Thursday  in  Lent. 

For  S.  Lorenzo,  see  p.  148. 

S.  LUIGI  DEI  FKANCESI. — The  French  nation  pos- 
sessed a  small  chapel  and  hospital  for  the  infirm  and 
poor,  in  the  time  of  Sixtus  IV.  (1447).  The  present 
church  was  built  with  funds  given  by  Catherine  de 
Medicis  in  1589,  and  was  a  parish  church  and  the 
headquarters  of  the  Guild  of  Doctors.  It  stands  in 
the  piazza  of  the  same  name,  and  is  the  national 
church  of  the  French. 

It  is  dedicated  to  the  Virgin,  and  to  S.  Louis  and 
S.  Denis  of  France.  The  fa9ade  is  of  travertine, 
designed  by  Giacomo  della  Porta.  It  has  a  nave 
lined  with  heavy  pilasters,  and  2  aisles  with  10  side- 
chapels. 

The   second   on   the   right,   of   S.    Cecilia,    contains  chapels 
frescoes  of  her  life  by  Domenichino.  Right. 

The  fourth  on  the  right  contains  a  fresco  by  Siccio- 
lante  of  the  baptism  of  Clovis,  and  Guido's  copy  of 
Raphael's  S.  CeciUa. 

At  the  high  altar  is  an  Assumption,  by  Bassano. 

On  the  left  of  the  altar,  the  chapel  of  S.  Matthew 
contains  three  paintings  of  the  Apostle  by  Caravaggio, 
and  frescoes  on  the  roof  by  D'  Arpino. 

The  chapel  of  S.  Louis  was  designed  and  painted 
by  Plautilla  Bricci,  a  Roman  woman. 

In  the  first  chapel  on  the  left  are  monuments  to  Left. 
Guerin  and  Sigalon  the  painters,  and  to  Pauline  de 
Montmorin,  the  latter  erected  by  Chateaubriand. 
Seroux  d'Agincourt,  and  several  French  cardinals  are 
buried  in  this  church,  and  monuments  have  been 
erected  to  Claude  Lorraine  and  to  the  French  soldiers 
killed  in  1849  during  the  campaign  in  Italy. 
Feast  day. — August  25. 

B.  wms  (LOUIS  EC.  OP  FRANCE)  was  bom  in  12 15.  His 
mother  who  governed  his  kingdom  during  his  minority, 
was  his   sole    instructor   till    he    reached   the  age  of 


262       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

twelve.  He  belonged  to  the  third  order  of  S.  Francis, 
and  was  canonized  by  Boniface  VIII.  in  1297.  The 
relics  of  S.  Louis  were  deposited  in  the  church  of 
S.  Denis  in  Paris,  but  were  destroyed  during  the 
French  Revolution. 

In  art  S.  Louis  holds  in  one  hand  a  crown  of  thorns  ; 
the  sword  and  sceptre  lie  at  his  feet.  In  French 
pictures  he  is  beardless. 

SS.  MAECELLINO  E  PIETRO,  in  the  Via  Merulana. — 
From  fragments  of  inscriptions  found  in  a  little  con- 
fession under  this  church,  it  appears  that  it  dates  from 
thetime  of  Pope  Siricius  (384-399),  although  the  Liber 
Pontificalis  states  that  it  was  built  by  Gregory  III. 

(731-741)- 

It  is  probable  that  the  original  church  was  at  a 
much  lower  level,  and  that  the  present  apse  belonged 
to  some  side-oratory,  as  ruins  of  a  larger  church  were 
found  in  the  adjacent  garden. 

The  church  is  mentioned  in  590,  and  was  restored 
by  Alexander  IV.  in  1256,  whose  work  is  recorded  in 
an  inscription,  which  states  that  the  relics  of  S.  Cris- 
tina  were  deposited  with  others  under  the  altar. 

It  was  again  restored  by  Paul  IV.  (1555)  and  by 
Benedict  XIV.  (1740),  who  was  its  titular  cardinal. 

In  1707  the  church  was  given  to  the  Maronite 
monks  of  S.  Antonio  of  Lebanon.  At  this  time  it 
possessed  a  chapter  of  4  canons.  The  monks  w'ere 
removed  later  to  S.  Pietro  in  Vincoli,  and  the  convent 
was  given  to  the  Theresian  -nuns  of  S.  Lucia  dei 
Ginnasi. 

Feast  day. — June  2. 

The  Station  on  the  3rd  Saturday  in  Lent. 

PETEK  the  Exorcist  and  marcellihus  the  Presbyter 
were  two  martyrs  of  the  year  304.  Lucilla  buried 
them  in  the  catacomb  of  their  name,  and  Damasus 
celebrated  them  with  a  carmen. 

8.  HABCELLO  in  the  Corso  is  one  of  the  ancient  titular 
churches  of  Rome,  and  dates  from  the  iv.  century. 


THE  CHURCHES  IN  ROME  263 

The  fa9ade  of  the  original  church  faced  the  opposite 
way  to  the  present  one.  According  to  a  tradition, 
which  is  referred  to  in  the  Liber  Pontificalis,  this 
church  stands  upon  the  site  of  the  house  of  Lucina, 
given  by  her  to  Pope  Marcellus. 

Gregory  IV.  {827)  and  Stephen  V.  (816)  both  enriched 
it,  and  it  was  rebuilt  by  Adrian  I.  in  the  viii.  century. 
Till  1369  it  was  governed  by  a  college  of  canons,  at 
which  date  it  was  given  to  the  order  of  the  "  Servi  di 
Maria." 

In  15 19  it  was  entirely  rebuilt  from  Sansovino's 
designs,  the  fa9ade  by  Fontana  being  added  in  the 
last  century.  It  was  again  restored  as  we  now  see  it 
in  1867. 

The  annexed  convent  was  built  in  1666  on  the  site 
of  an  older  building. 

During  the  restorations  of  the  last  century  an  in- 
scription upon  lead  was  found  under  the  high  altar, 
stating  that  the  body  of  Pope  Marcellus,  with  those  of 
other  martyrs,  lay  there  : 

Corpus  Be 

ati  Marcelli 

PPet  M 

Largi  .  et  .  Sm 

raldi  .  m 

et  aliorum. 

The  inscription  is  of  the  x.  or  xii.  century,  and  is 
in  accordance  with  the  tradition  that  Pope  Marcellus 
and  Lucina  transferred  the  bodies  of  these  martyrs 
from  the  Via  Salaria  to  the  Via  Ostia. 

The  present  church  has  a  single  nave,  with  5  chapels 
on  either  side,  and  a  flat  wooden  roof. 

It  is  decorated  with  modern  frescoes,  the  whole  of 
the  wall  over  the  entrance  being  covered  by  an  immense 
painting  of  the  Crucifixion. 

On  the  right,  in  the  third  chapel,  is  a  monument  to  chapels. 
Cardinal  Weld,  titular  of  the  church.     In   the  next  Right, 
chapel  Cardinal  Consalvi,  minister  of  Pius  VII.,  was 
buried.     This  chapel  is  decorated  by  Pierino  del  Vaga. 


cellus. 


i64       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

The  creation  of  Eve  with  SS.  Mark  and  John,  are  his 
work  ;  Matthew  and  Luke  are  by  Daniele  da  Volterra ; 
the  crucifix,  from  del  Vaga's  drawings,  was  painted  by 
Garzi. 

The    paintings   in   the   tribune   are   by    G.    B.    da 
No  vara. 
Left.  In  the  fourth  chapel  on  the  left  is  a  painting  of  the 

conversion  of  S.  Paul,  by  Federigo  Zucchero.  On 
the  walls  are  frescoes  by  his  brother  Taddeo, 

The  second  chapel  on  this  side  is  also  decorated  by 
F.  Zucchero. 

Among  the  illustrious  persons  buried  in  this  church 
are  Domenico  degU  AstalH,  ob.  1414,  vicar  of  King 
Ladislaus,  and  many  members  of  the  great  families  of 
the  Frangipani,  the  Normanni,  and  the  Depersona.* 

Feast  day. — January  16. 

The  Station  is  on  the  6th  Wednesday  in  Lent. 

Mar-  MARCELLus,  a  Roman,  filled  the  Holy  See  for  2  or  5 

years,  during  the  reigns  of  the  Emperors  Constantius 
and  Galerius  to  that  of  Maxentius,  namely  from  304  or 
8  to  309  or  10. 

He  created  in  the  city  25  tituli  we  learn  from 
the  Liber  PontificaHs,  for  the  baptism  and  penance 
of  those  received  as  Christians  from  the  Gen- 
tiles, and  for  the  burial  of  the  martyrs.  Maxentius, 
enraged  at  this,  menaced  him  with  torments  if  he  did  , 
not  renounce  his  pontificate  and  consent  to  worship 
idols.  Upon  Marcellus'  refusal,  he  was  sent  by 
Maxentius  to  tend  beasts  ;  and  thus  he  spent  nine 
months,  fasting  and  praying,  and  visiting  his  people 
per  epistolas  (by  letter).  Finally  delivered  by  his  clerks, 
he  was  received  into  the  house  of  Lucina,  which  he 
dedicated  as  a  church.  Hearing  this,  Maxentius  trans- 
ferred the  herds  of  cattle  to  the  church,  and  forced 
Marcellus  to  tend  them.  Here  he  died,  worn  out  by 
the  life  imposed  upon  him,  and  was  buried  by  Lucina 
in  the  catacomb  of  S.  Priscilla. 

He  wrote  an  epistle  to  the  Bishop  of  Antioch  con- 
*  Adinolfo,  Roma  nelV  eta  di  Mezzo,  ii.  282. 


THE  CHURCHES  IN  ROME  265 

cerning  the  Roman  Church,  which  he  styles  the  "head 
of  churches." 

S.  MABCO. — This  ancient  and  interesting  titular  church 
in  the  piazza  of  the  same  name,  opens  into  a  little  street 
called  Pallacince,  and  was  long  known  simply  as  "  Titulus  History. 
Pallacinae."  It  is  so  styled  in  an  inscription  to  a  lector 
of  the  church  of  the  year  348.*  The  origin  of  the 
word  is  obscure.  A  street  of  this  name  is  mentioned 
by  Cicero,!  and  in  the  viii.  century  ^  portico  close 
to  the  Flaminian  circus  was  called  in  Pallacinis. 

S.  Marco  was  certainly  built  in  the  first  years  of 
the  "  Peace,"  and,  according  to  the  account  of  the 
Liber  Pontificalis,  by  Pope  Mark  (336-7  to  337-41)  in 
honour  of  the  Evangelist.  Under  Pope  Symmachus 
(499)  it  appears  as  already  an  ancient  titular  church. 
Gregory  IV.  rebuilt  it,  and  the  mosaics  of  the  tribune 
are  of  this  date  (827-844).  During  some  excavations 
in  1843,  a  hypogeum,  probably  of  the  Constantine 
epoch,  was  discovered  beneath  the  confession  by  Mon- 
signor  Bartohni,];  decorated  with  images  of  the  Saviour, 
and  of  the  saints  Abdon,  Sennen,  and  Ermete,  whose 
bodies  were  placed  here  by  Gregory  IV. 

Paul  II.  (1464)  restored  the  basilica  and  reduced  it 
to  its  present  form,  and  repaired  the  roof  with  leaden 
tiles,  some  of  which  with  the  inscription  and  date  are 
still  preserved  in  the  chapter-room.  The  same  pope 
enclosed  the  church  within  the  confines  of  the  Venetian 
palace,  which  was  his  favourite  residence,  and  adorned 
the  piazza  before  the  church  with  two  urns,  one  of 
serpentine  from  the  Colosseum,  and  one  of  porphyry, 
which  had  served  as  the  tomb  of  Costanza,  and  is  now 
in  the  Vatican  museum.  This  urn  was  called  la  concha, 
and  is  mentioned  in  documents  of  the  xvi.  century 
as  a  landmark  by  which  to  describe  the  position  of 
some  houses,  "  Una  casa  posta  a  S.  Marcho  appresso 
la  concha. "§ 

*  De  Rossi,  Inscr.  Christ.,  i.,  p.  62. 

t  Pro  Sexto  Roscio  Amerino. 

\  Bartolini,  La  Sotterr.  Confess,  delta  Rom.  has.  S.  Marco.,  1844. 

§  Archives  of  S.  Pietro  in  Vincoli,  1555. 


266       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Interior. 


Chapels. 


Mosaics 
of  the 
tribune. 


In  this  century,  the  xvi.,  S.  Marco  exercised  juris- 
diction over  14  important  churches  in  the  city. 

The  basilica  was  once  more  restored  at  the  expense 
of  Niccolo  Sagredo,  Venetian  ambassador,  and  later, 
in  1744,  Cardinal  Quirino  restored  the  choir  and  altar, 
and  added  the  pilasters  of  the  aisles  and  the  columns 
encrusted  with  Sicihan  alabaster  in  the  nave. 

Originally  the  church  was  approached  through  an 
atrium,  according  to  the  basilica  form.  The  ancient 
fountain  of  the  atrium  now  stands  in  the  portico  of  the 
church,  bearing  an  inscription  of  one  Johannes,  priest 
of  the  church. 

In  this  portico  are  also  some  Roman  and  Christian 
inscriptions.  The  fine  doors,  of  the  xv.  century,  date 
probably  from  Paul  II.'s  restorations. 

The  nave  is  entered  by  a  descent  of  several  steps. 
The  roof  is  of  the  xv.  century. 

The  Jirst  chapel  on  the  right,  contains  an  altar-piece 
of  the  Resurrection  by  Palma  Giovanni. 

The  third,  the  chapel  of  the  Specchi  family,  an 
adoration  of  the  Magi,  by  Maratta.  At  the  extremity 
of  this  aisle  is  a  fine  picture  of  Pope  Mark  of  the 
Bellini  school,  attributed  to  Crivelli. 

The  mosaics  of  the  tribune,  of  the  ix.  century, 
represent  the  Redeemer,  Byzantine  in  type,  and  of 
austere  aspect,  standing,  and  holding  an  open  book 
with  the  words,  "  Ego  sum  resurrectio."  On  either 
side  the  letters  A  fl.  At  His  sides  stand  S.  Mark  the 
Evangelist,  Mark  the  Pope,  and  the  martyrs  Felicis- 
simus  and  Agapitus  killed  upon  the  Via  Appia  with 
Sixtus  II.,  S.  Agnes,  and  Pope  Gregory  IV.,  holding 
the  model  of  the  church  in  his  hand. 

Below,  is  the  mystic  lamb  with  the  Holy  Spirit  in 
the  form  of  a  dove  above  it,  and  at  its  feet  the  four 
rivers,  with  their  names,  Geofi,  Fison,  Tigris,  and  Eiifra. 
The  12  sheep  on  either  hand  issue  from  the  two  cities. 
In  the  extension  of  the  arch,  is  a  bust  of  Christ  giving 
the  benediction  in  the  Greek  mode,  and  the  four 
symbols  of  the  Evangelists. 


THE  CHURCHES  IN  ROME  267 

The  frescoes  here  are  by  Borgognone. 

An  inscription  upon  the  ancient  ciborium  states  that  it 
was  made  in  11 54  by  the  four  brothers  Paolo.  In  the 
left  aisle  the  fcnirth  chapel  contains  an  altar-piece  of 
S.  Gregory  Barbadigo,  by  Antonio  d'Este,  the  secoitd 
chapel,  a  S.  Michael  by  Mola.  At  the  extremity  of 
botla  aisles  are  rich  cases  of  relics. 

There  are  many  tombs  of  Venetians  in  this  church ; 
among  them  that  of  Leonardo  Pesaro,  a  youth  of 
sixteen,  by  Canova. 

Feast  day. — April  25. 

The  Station  is  on  the  3rd  Monday  in  Lent. 


-According  to  Papias,  the  interpreter  of  S.  s.  Mark. 
Peter,  the  Apostle  Barnabas  had  a  Christian  sister  Mary, 
and  her  son  was  John  surnamed  Mark.  He  appears  to 
have  remained  the  friend  and  companion  of  both  Peter 
and  Barnabas  (cf.  i  Peter  v.  13).  It  is  related  of  him 
that  being  sent  by  Peter  to  preach  in  Egypt,  he  spent 
12  years  in  Lybia  and  Thebais,  and  founded  the 
Church  of  Alexandria,  He  was  seized  during  a  great 
feast  of  Serapis,  as  a  magician,  bound  and  dragged 
along  the  streets,  and  over  stones  and  rocks,  till  he  was 
left  to  die.  It  is  said  that  during  this  agonizing  death 
he  heard  a  voice  saying,  "  Pax  tibi  Marce  Evangelista 
mens,"  Peace  to  thee,  Mark,  my  Evangelist.  This  is 
called  the  motto  of  the  Venetians,  where  it  is  very 
frequently  seen  on  a  book  by  the  "  lion  of  S.  Mark." 
After  his  tomb  had  been  venerated  in  Alexandria  for 
many  centuries,  his  relics  were  carried  off  by  Venetian 
merchants  to  their  own  city.  This  was  about  a.d.  815. 
See  also  p.  189. 

There  are  76  churches,  chapels,  and  oratories 
dedicated  to  the  Madonna  in  Rome. 

s.  MARIA  DEGLI  ANGELI.— One  of  the  great  halls  of 
the  Baths  of  Diocletian  which  had  survived  the  ravages 
of  time,  and  the  still  worse  perils  of  vandalism,  was 
dedicated  as  a  church  under  this  name  in  the  reign  of 
Pius  IV.     Its  adaptation  was  undertaken  by  Michael 


268       CHRISTIAN  AND  ECCLESIASTICAL  HOME 

Angelo,  who  also  designed  the  fine  cloisters  of  the 
monastery  built  among  the  huge  ruins  of  the  baths. 
Owing  to  the  dampness  of  the  ground,  he  was  obliged 
to  raise  the  floor  of  the  church  8  feet,  hiding  the  bases 
of  the  columns.  Eight  of  these  are  antique,  of  one 
solid  piece  of  Egyptian  granite  40  feet  in  height.  In 
the  church  as  planned  by  Michael  Angelo,  the  prin- 
cipal entrance  was  to  the  south,  in  what  is  now  the 
right  transept,  with  the  high  altar  where  now  is  the 
left  transept.  The  present  extraordinary  change  of 
plan  was  made  in  1749,  in  order  to  erect  a  chapel  to 
blessed  Nicholas  Albergati  a  Carthusian.  The  great 
door  was  blocked  up,  the  side-door  became  the  prin- 
cipal entrance,  and  the  great  nave  became  the  transept, 
a  tribune  being  added.  In  spite  of  this  unfortunate 
alteration  the  building  is  magnificent  in  its  size  and 
proportions.  It  was  consecrated  by  Pius  IV.,  and  the 
ancient  title  of  S.  Ciriaca,  a  neighbouring  church  then 
in  ruins,  was  transferred  to  it.  The  adjoining  monastery 
was  given  to  the  Carthusian  monks,  and  this  order 
held  it  until  lately  expelled  by  the  Italian  Government, 
which  converted  the  convent  building  into  a  barrack. 
It  has  now  become  the  national  museum. 
Interior.  The  church  is  now  approached  by  a  circular  vestibule. 
Here  are  the  tombs  of  Carlo  Maratta  and  Salvator 
Rosa.  In  a  niche  further  on  is  the  beautiful  statue  of 
S.  Bruno  by  Houdon,  of  which  Clement  XIV.  said 
"  it  would  speak,  had  the  rules  of  the  order  per- 
mitted it."  On  the  left  is  a  chapel  to  the  Madonna 
with  an  altar-piece  of  Peter  receiving  the  keys,  by 
Muziano. 

The  great  transept  now  entered  is  300  feet  long  by 
91  feet  wide,  and  84  feet  in  height.  Diagonally  across 
it  a  meridian  line  in  bronze  was  laid  down  in  1701, 
with  the  signs  of  the  Zodiac  in  coloured  marbles. 
Upon  the  walls  are  the  huge  pictures  removed  from 
the  altars  of  S.  Peter's,  where  they  have  been  replaced 
by  mosaic  copies ;  besides  which,  on  the  right,  are 
copies  of  Guide's  Crucifixion  of  Peter,  and  of  Vanni's 


THE  CHURCHES  IN  ROME  269 

Fall  of  Simon  Magus,  the  original  of  which  is  in 
S.  Peter's.  Opposite  are  S.  Jerome  by  Muziano,  the 
landscape  of  which  is  by  Brill,  and  the  Resuscitation 
of  Tabitha  by  Mancini, 

In  the  left  transept,  first,  the  Mass  of  S.  Basil  by 
Subleyras ;  the  Fall  of  Simon  Magus,  by  Battoni. 
Opposite,  the  Immaculate  Conception  by  Bianchi, 
and  the  Resuscitation  of  Tabitha,  by  Costanzi. 

In  the  choir  on  the  right,  is  Domenichino's  S.  Sebas- 
tian, and  Romanelli's  Presentation  in  the  Temple. 
On  the  left,  Pomarancio's  Death  of  Ananias  and 
Sapphira,  and  Maratta's  Baptism  of  Christ.  The  two 
chapels  at  either  end  of  the  transept,  formed  out  of 
halls  of  the  baths,  are  dedicated  to  blessed  Niccolo 
Albergati  and  S.  Bruno. 

The  Station  is  on  the  ist  Saturday  in  Lent. 

S.  MABIA  DELL'  ANIMA,  by  the  Piazza  Navona,  is  a 
church  of  the  xv.  century,  erected  in  the  reign  of 
Eugenius  IV.  by  one  Giovanni  di  Pietra  and  his  wife 
Caterina,  of  Flanders,  with  a  hospital  attached  for  their 
poor  compatriots. 

The  church  is  called  dell'  Anima  from  a  marble 
group  of  the  Virgin  with  two  symbolic  figures  of  souls, 
found  upon  the  spot,  a  copy  of  which  now  stands  at 
the  door.  It  is  the  national  church  of  the  Austrians, 
and  has  an  Austrian  college  of  chaplains  and  a  hospital 
for  Austrian  poor  attached  to  it. 

This  church  is  said  to  have  been  designed  by 
Bramante  ;  its  fa9ade  with  three  doors  ornamented 
with  rich  marbles,  was  added  by  San  Gallo. 

The  choir  was  designed  by  Paolo  Posi ;  above  the 
altar  are  frescoes  by  Ludwig  Stern. 

The  altar-piece  is  one  of  Giulio  Romano's  best 
works :  a  Holy  Family,  much  injured  however  by 
inundations  of  the  Tiber,  and  retouched  by  Saraceni. 

There  are  two  fine  monuments  on  either  side  of  the 
altar ;  that  to  the  right,  of  the  German  pope  Adrian  VI., 
designed  by  Baldassare  Peruzzi,  and  executed  by 
Michelangelo  Sanese  and  Niccolo  Tribolo,  a  Floren- 


270       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

tine.  Among  the  intersecting  arches  of  this  monu- 
ment is  the  figure  of  the  pope,  and  in  niches  the 
cardinal  virtues. 

Opposite  is  the  tomb  of  the  Duke  of  Cleves,  ob.  1575, 
by  German  sculptors ;  the  bas-relief  from  this  monu- 
ment, representing  Gregory  XIII.  investing  this  duke 
with  his  honours,  has  been  removed  from  its  place  into 
the  entrance  of  the  sacristy. 

By  this  door  is  the  monument  to  Lucas  Holstein, 
canon  of  S.  Peter's,  and  Hbrarian  of  the  Vatican, 
erected  by  Cardinal  Barberini. 
Chapels.  The  first  chapel  on  the  right  contains  an  altar-piece 
by  Saraceni ;  the  second,  a  holy  family  by  Gimignani. 
In  the  fourth  is  an  indifferent  and  altered  copy  of 
Michael  Angelo's  Pieta. 

On  the  left,  in  the  fourth  chapel,  are  frescoes  of 
Salviati ;  in  the  third,  frescoes  of  the  life  of  S.  Barbara, 
by  Coxcie ;  and  in  the  first,  the  martyrdom  of  S.  Lam- 
bert, by  Saraceni. 

S.  MABIA  IN  AQTJIEO.— This  diaconal  church,  in  the 
Piazza  Capranica,  is  mentioned  in  the  Liber  Ponti- 
ficalis  of  Gregory  III.  (731)  and  IV.  (827),  and  of 
Leo  III.  (795),  under  the  name  of  S.  Maria  in  Cyro, 
a  name  of  obscure  origin.  Some  consider  the  church 
to  have  been  built  by  Pope  Anastasius*  (399) • 
Originally  it  was  of  basilica  form,  and  it  maintained 
this  aspect  until  the  restorations  of  Cardinal  Salviati  in 
1590.  The  fa9ade  is  of  the  last  century,  and  the 
church  has  been  again  restored  by  Pius  IX.  Among 
other  privileges  conferred  upon  the  archpriest  of  this 
basilica,  was  that  of  presenting  to  the  pope  on 
Saturday  in  albis  a  cock  and  a  crown  as  he  dismounted 
from  his  mule  at  the  Lateran. 

Several  Roman  families  have  their  burial  vaults  in 
this  church. 

S.  MABIA  DELL'  AVENTINO,  or  del  Priorato,  more 
commonly  known  under  the  second  name,  is  built  upon 

*  Marangoni,  Cose  Gcntiksche. 


THE  CHURCHES  IN  ROME  271 

some  of  the  ruins  .upon  the  Aventine  Hill,  possibly 
upon  those  of  the  Temple  of  Bona  Dea.  Its  exact 
origin  is  unknown.  In  the  xiii.  century  it  was  one 
of  the  principal  abbeys  of  Rome,  and  it  was  one  of 
the  earliest  to  be  dedicated  to  the  Madonna. 

The  annexed  convent  dates  from  the  year  939,  when 
it  was  built  upon  the  palace  of  Alberic  the  Patrician, 
who  gave  up  his  own  dwelling  for  the  purpose.  This 
monastery  of  Basilian  monks  became  one  of  the  most 
privileged  and  one  of  the  largest  in  Rome.  In  it, 
Hildebrand,  afterwards  Gregory  VII.,  passed  many 
years  of  his  life.  From  1320  it  belonged  to  the 
Knights  Hospitallers  or  Knights  of  Malta,  and  became 
a  priory  of  the  order,  and  it  has  lately  again  passed 
into  their  possession.  Church  and  convent  were  re- 
stored by  Pius  V.  (1566),  and  again  in  1765  by  Cardinal 
Rezzonico,  Grand  Prior  of  the  order.  Much  damage 
was  done  to  the  building  in  1849  by  the  French 
artillery. 

During  the  restorations  of  the  last  century,  an  urn 
was  found  bearing  an  inscription  to  the  effect  that  here 
reposed  the  rehcs  of  SS.  Abbondius  and  Sabinus. 

The  church  has  a  single  nave.  It  contains  an 
ancient  sarcophagus  of  marble,  used  at  a  later  date 
as  the  tomb  of  Bishop  Spinelli,  some  xvi.  century 
monuments  to  members  of  the  Caracciolo  and  Caraffa 
famihes,  and  several  tombs  of  Grand  Priors  and  other 
members  of  the  order. 

There  is  a  magnificent  view  of  the  whole  of  Rome 
from  the  garden  of  the  Priorato.  In  the  villa  itself,  a 
large  hall  is  hung  with  the  portraits  of  Grand  Masters 
and  Lieutenants  of  the  Mastery,  from  11 13  to  the 
present  day. 

8.  MAEIA  IN  CAMPITELLI,  or  in  Portico,  is  a  xvii. 
century  church  in  the  Piazza  Campitelli,  built  upon 
the  site  of  a  much  older  church  of  the  same  name.  The 
original  building  was  consecrated  by  Honorius  III. 
in  121 7.  The  modern  church,  designed  by  Rinaldi, 
was  finished  under  Alexander  VII.,  and,  being  larger 


272        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

than  the  old  one,  the  house  of  the  Albertoni  was  pulled 
down  to  make  room  for  it.  During  a  great  pestilence, 
the  much  venerated  image  of  the  Madonna  from  the 
church  of  S.  Maria  in  Portico,  which  is  said  to  have 
checked  the  plague,  was  removed  to  S.  Maria  in 
Campitelli,  which  from  that  time  took  in  addition  the 
name  of  in  Portico. 

The  church  contains  a  picture  of  the  Descent  of  the 
Holy  Spirit,  by  Luca  Giordano,  and  in  the  second  chapel 
on  the  left  some  fragments  of  fine  Oriental  alabaster 
from  the  neighbouring  Portico  of  Octavia,  and  some 
good  monuments  ;  that  on  the  right  being  to  Cardinal 
Pacca,  Pius  VI I. 's  minister,  by  Pettrick. 

S.  MARIA  IN  CAMPO  MAEZIO  was  in  existence  prior  to 
the  first  half  of  the  viii.  century,  as  at  that  time  it 
was  in  the  hands  of  some  Basilian  nuns,  who  had 
brought  with  them  from  Constantinople  the  body  of 
S.  Gregory  Nazianzen  and  other  relics  of  martyrs. 
These  Greek  nuns  later  adopted  the  Benedictine  rule, 
and  their  convent  became  enriched  with  many  goods 
and  privileges.  S.  Maria  sopra  Minerva  belonged  to 
them  also  until  it  passed  under  Gregory  IX.  (1370)  to 
the  Dominicans.  In  1564  a  new  church  was  built  for 
them  at  the  expense  of  Chiara  Colonna,  and  the  body  of 
S.  Gregory  Nazianzen  was  removed  by  Gregory  XIII. 
to  the  Vatican.  The  church  was  desecrated  during 
the  French  occupation,  but  was  restored  to  the  nuns 
by  Pius  VII. 

S.  MABIA  DELIA  CONCEZIONE— the  Cappuccini.  This 
church,  one  of  the  most  popular  in  all  Rome,  stands 
at  the  side  of  the  Piazza  Barberini,  and  was  built  in 
1626  by  Cardinal  Barberini,  nephew  of  Urban  VIII., 
and  himself  a  Capuchin  friar.  Before  the  new  Via 
Veneto  was  cut  through  the  rising  ground  at  this  point, 
the  approach  to  the  church  and  convent  shaded  by  an 
avenue  of  fine  trees,  was  one  of  the  most  picturesque 
spots  of  old  Rome.  The  new  road  has  shorn  away  a 
portion  of  the  Capuchin  monastery,  and  a  good  piece 


THE  CHURCHES  W  ROME  273 

of  the  old  monastery  garden  which  used  to  adjoin  the 
Ludovisi  villa. 

The  church  has  no  particular  architectural  merit,  interior. 
and  is  known  chiefly  for  the  pictures  it  contains,  chapels 
Over  the  door  in  the  interior  is  a  painted  copy  of 
Giotto's  mosaic  of  Peter  walking  on  the  waves.  In 
the  Jirst  chapel  on  the  right  is  Guido  Reni's  S.  Michael. 
The  Lucifer  in  this  picture  is  popularly  said  to  be  a 
portrait  of  Urban  VIII.,  while  others  consider  it  to 
have  been  Cardinal  Pamfili  afterwards  Innocent  X. 
towards  whom  Guido  had  a  grudge.  The  "Tempta- 
tion of  Christ,"  by  Gherardo  della  Notte  is  also  in  this 
chapel. 

In  the  third  chapel  to  the  right,  is  the  Ecstasy 
of  S.  Francis  by  Domenichino.  In  front  of  the  high 
altar  the  tomb  of  Cardinal  Barberini,  founder  of 
the  church,  with  the  inscription,  '^  Hie  Jacet  pulvis, 
cinis,  et  nihil.''  To  the  left  of  the  altar,  the  tomb 
of  Alexander  Sobieski,  son  of  John  III.  King  of 
Poland,  who  died  in  Rome  in  17 14.  The  painting 
over  the  high  altar  is  a  copy  of  an  Ascension  by 
Lanfranco. 

In  the  third  chapel  to  the  left,  is  a  "  dead  Christ  "  by 
Camassei,  pupil  of  Domenichino  ;  and  in  the  first  on 
the  left,  the  Conversion  of  Paul  by  Pietro  da  Cortona. 
Beneath  the  church  are  some  burial  vaults,  where  the 
bones  of  dead  friars  of  the  convent  are  arranged  in 
fantastic  and  ghastly  patterns  upon  the  walls.  In 
these  vaults  is  some  earth  brought  from  Jerusalem, 
and  the  body  of  each  friar  who  dies  is  allowed  to  rest 
in  the  sacred  ground  for  the  period  of  six  months, 
when  it  is  removed  to  make  way  for  another  occupant. 
The  vaults  are  lit  up  on  November  2,  and  can  be 
seen  at  any  time  upon  applying  at  the  sacristy.  The 
Capuchins  were  removed  to  this  monastery  from 
S.  Croce  dei  Lucchesi  on  the  slopes  of  the  Quirinal. 

8.    MAKIA  IN    COSMEDIN.— This    interesting    church,  Historj'. 
one  of  the  so-called  smaller  basilicas  and  an  ancient 
diaconate,  stands  on  the  Piazza  Bocca  della  Verita, 

18 


274       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

close  to  the  Ponte  Rotto.  It  is  built  upon  a  temple 
dedicated  to  Ceres  and  Proserpine  which  stood  at  the 
extremity  of  the  Circus  Maximus,  and  several  of  the 
Corinthian  columns  of  this  temple  can  still  be  seen 
built  into  the  walls  of  the  church,  in  the  portico, 
and  in  the  sacristy.  The  date  of  the  foundation  of 
this  church  is  unknown  ;  very  possibly  it  originated 
during  or  soon  after  the  ages  of  persecution,  and  in 
the  VI.  century  it  was  already  enumerated  among 
the  diaconate  churches  of  Rome.  At  this  date  it  was 
known  as  S.  Maria  in  Schola  Greca,  and  is  so  men- 
tioned by  the  anonymous  writer  of  the  Einsiedeln 
Itinerary.  The  whole  of  this  region  seems  to  have 
belonged  to  the  Greeks  in  the  viii.  century ;  the 
rivM"  bank  close  by  was  called  "  Ripa  Greca,"  and  a 
street  next  to  the  church  is  still  called  Via  della 
Greca. 

Adrian  I.  (771-795)  rebuilt  the  church  of  S.  Maria, 
which  was  in  a  ruinous  condition,  and  from  this  time 
it  was  known  as  S.  Maria  in  Cosmedin,  a  name 
possibly  derived  from  the  Greek  kosmos  or  "  adorned," 
or  according  to  others,  from  some  Roman  matron, 
benefactress  of  the  church.* 

Nicholas  I.  again  restored  it  (858-867),  and  further 
attached  to  it  a  palace  of  considerable  extent  as  a 
papal  residence. 

Finally,    in    the    xii.     century,    new    restorations 

were   undertaken  by   Callixtus    II.,   and   the   church 

was  again  consecrated  in  1123.     Fortunately,  much 

still  remains  to  us  of  this  and  of  an  earlier  period, 

and  the   church   retained  its  primitive  basilica  form 

until   1 71 8,   when   its  titular  cardinal   Albani,  added 

Cam-         a  modern  and  inappropriate  fa9ade.     The  campanile, 

panile.       one  of  the   most  beautiful  in   Rome,  is  of  the  viii. 

or   IX.    century.      In   the   xviii.    century  the   church 

was  so   much   below  the   level  of  the   neighbouring 

piazza  that  it  was  entered  by  a  whole  flight  of  steps, 

which  rendered  it  so  damp  and  unwholesome  that  in 

♦  Garrucci,  Storia  delV  Arte  Crist..  58. 


THE  CHURCHES  IN  ROME  275 

1715  Clement  XI.  cleared  away  the  surrounding  soil 
as  we  now  see  it. 

In  the  XII.  century,  Gelasius  II.,  Celestin  III., 
and  the  antipope  Benedict  XII.  were  elected  in  this 
basilica.  It  seems  to  have  possessed  a  chapter  of  canons 
from  1236.  They  were  suppressed  by  Eugenius  IV., 
who  gave  the  church  to  the  Benedictines  of  S.  Paolo 
beyond  the  walls.  The  chapter  was  however,  again  • 
restored  by  Leo  X.,  and  Pius  V.  made  the  church 
parochial.  In  the  xvi.  century  the  papal  residence 
of  Nicholas  I.  was  in  ruins,  and  the  surroundings  of 
the  church  were  squalid  and  abandoned.  Signor 
Armellini*  gives  an  interesting  account  of  a  document 
found  by  him  among  the  secret  archives  of  the  Vatican, 
in  which  the  canons  pray  Alexander  VII.  for  per- 
mission to  absent  themselves  from  attending  choir  in 
the  church,  owing  to  its  unwholesomeness.  The 
petition  is  accompanied  by  a  medical  certificate  stating 
that  it  was  dangerous  to  stay  in  the  church  more  than 
an  hour  and  a  half — on  account  of  the  bad  air  of  the 
locality,  caused  by  the  destruction  of  the  woods  in  the 
campagna  by  order  of  Sixtus  V.,  which  were  infested 
with  bandits. 

The  church  is  approached  through   a  portico,    no  Portico, 
vestige  remaining  of  its  ancient  atrium  of  the  time 
of  Adrian  I.     This  portico  contains  some  interesting 
inscriptions,  among  them  that  to  Alfano  chamberlain 
of  Callixtus  II. ;  a  portion  of  stone  ornamentation  with 
fragments  of  an  inscription  erroneously  considered  to 
represent  the  fa9ade  of  Pope  Adrian's  palace  in  Via 
Lata  ;  a  ix.  century  list  of  gifts  made  to  the  basilica 
of  S.  Valentine  on  the  Via  Flaminia,  and  the  enormous 
stone  mask  known  as  the  "  Bocca  della  Verita."     This  Bocca 
mask  which  gives  its  name  to  the  piazza,  and  also  della 
popularly  to  the  church,  was  originally  affixed  to  the  Venta. 
outside,  and  was  placed  in  the  portico  in   1632.     A 
mediaeval  legend  asserts  that  those  about   to   swear 
oaths  placed  their  hands  in   the   mouth   of  the  stone 
•  Chiese  di  Roma . 

18—2 


276       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

mask,  which  closed  upon  those  who  swore  falsely. 
This  great  stone  may  have  served  to  close  the  opening 
of  some  antique  drain,  or  according  to  a  more  modern 
theory,*  may  have  belonged  to  a  sacred  well  dedicated 
to  Mercury,  to  which  Ovid  relates,  the  merchants  of 
the  neighbouring  Foro  Boario  resorted  to  purge  them- 
selves of  their  false  oaths. 
Interior.  The  interior  of  the  church  has  retained  much  of  its 
basilica  form,  and  of  the  work  undertaken  under 
Callixtus  II.  in  the  xii.  century.  Of  this  period 
is  the  beautiful  mosaic  pavement  (1119-1124),  the 
marble  ambones,  episcopal  chair,  candelabra,  and 
tabernacle.  The  nave  of  the  church  is  divided  from 
the  aisles  by  rows  of  delicate  pillars  12  on  each 
side,  some  of  which  have  been  built  into  piers  at  a 
later  period.  Restorations  have  once  more  been 
commenced  at  the  expense  of  Cardinal  Ruggiero  its 
titular,  and  in  which  the  Italian  Government  were 
Present  to  join,  this  church  being  considered  a  national  monu- 
restora-  ment.  Unfortunately  no  funds  are  forthcoming  for 
tions.  ^jjg  moment  from  the  Government,  and  as  Cardinal 

Ruggiero  may  not  proceed  without  its  co-operation, 
all  work  is  at  a  standstill,  and  the  church  can  only  be 
seen  by  applying  to  the  sacristan.  These  works  have 
already  brought  to  Hght  much  of  interest :  the  original 
straight  walls  above  the  pillars  pierced  with  arched 
windows,  and  upon  which  traces  of  frescoes  are  clearly 
visible,  hitherto  hidden  with  a  domed  ceiling  of  plaster  ; 
besides  frescoes  in  good  preservation  upon  the  sides  of 
the  tribune.  Several  of  the  slabs  covered  with  mosaic 
forming  part  of  the  pavement  have  been  found  to  be 
ornamented  with  rich  stone  carving  upon  the  reverse 
side,  and  very  possibly  formed  a  portion  of  the  pectoral 
transenna,  or  low  balustrade  round  the  choir.  Of  such 
a  balustrade  no  portion  now  remains  in  position,  but 
Choir.  the  pavement  of  what  was  originally  the  choir  still 
remains  at  its  original  level,  about  6  inches  above  that 
of  the  nave.  The  two  marble  ambones  decorated 
*  Prof.  Feis..  Cronachetta  Menstiale,  1885,  53. 


THE  CHURCHES  IN  ROME  277 

with  mosaic,  still  remain  in  place,  with  the  beautiful 
twisted  candelabrum  at  the  gospel  ambone. 

Another  such  candelabrum  stands  in  the  tribune.  Canopy, 
and  in  the  centre  of  this  latter  is  the  marble  episcopal 
throne  referred  to.  Of  the  same  beautiful  mosaic 
work  is  the  canopy  Gothic  in  design,  over  the  high 
altar,  supported  upon  four  pillars  of  red  granite.  This 
is  the  work  of  Deodatus  Cosma.  Beneath  the  altar 
is  an  urn  of  red  porphyry  containing  the  relics  of 
saints.  The  tribune  is  raised  according  to  the  basihca 
plan,  above  the  nave  and  choir.  Beneath  it  and 
reached  by  steps  at  the  sides,  is  a  large  crypt,  for-  Crypt, 
gotten  and  closed  for  many  years,  and  discovered  in 
1 71 7.  It  possesses  a  double  row  of  marble  pillars  and 
a  small  altar.  Here,  are  preserved  the  relics  of  S. 
Cirilla,  and  a  stone  is  shown  as  the  spot  of  her 
martyrdom.  A  fragment  of  an  inscription  upon  lead 
was  discovered  some  years  ago  in  the  church,  enumer- 
ating the  relics  of  many  popes  and  martyrs  here  pre- 
served. 

In  the  tribune*  is  an  interesting  painting  of  the 
Madonna  and  Child,  said  to  be  of  Greek  origin,  and 
to  have  been  brought  from  Byzantium  during  the 
iconoclastic  dispute.  Others  consider  it  to  be  by  an 
Italian  artist  of  the  xii.  century.  In  the  sacristy 
is  preserved  a  beautiful  piece  of  mosaic  representing 
the  adoration  of  the  magi,  removed  from  the  chapel  of 
John  VII.  (705-708)  in  the  old  Vatican  Basilica,  when 
this  latter  was  destroyed.  The  chapter  of  S.  Maria  in 
Cosmedin  now  consists  of  12  canons  and  9  minor  canons. 

Feast  day. — September  8. 

The  Station  is  on  Ash  Wednesday. 

The    little   circular    temple   opposite    this   church,  Temple  of 
known  as  the  Temple  of  Vesta,  or  of  Hercules,  has  Hercules, 
been  preserved  to  us  by  having  been  consecrated  as  a 
church  by  the  Savelli  family.     It  was  first  known  as 
S.  Stefano,  and  after  1560  as  S.  Maria  del  Sole.     It  is 
no  longer  a  church. 

•  For  the  moment  in  the  canon's  choir. 


278       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

S.  MAEIA  IN  DOMNICA,  called  also  Navicella  on  account 
of  the  marble  boat  in  front  of  it,  is  near  the  Villa 
Mattel  Hoffman,  on  the  Celian  Hill.  This  is  a  church 
seldom  open,  and  belongs  to  the  Greco-Melchite 
monks  (Clement  XH.,  1734).  It  is  one  of  the  most 
historically  interesting  in  Rome,  and  one  of  the  most 
ancient.  Tradition  points  it  out  as  the  house  of 
Cyriaca,  and  a  meeting-place  of  the  Christians  during 
the  persecutions.  Here  she  concealed  them,  and 
ministered   to    them   with    great    charity,   and    here 

A.D.  258.  Laurence  repaired  on  the  evening  of  the  day  that  he 
had  distributed  the  treasure  of  the  church  to  the  poor. 
He  found  Cyriaca  sick,  and  healed  her  by  laying  his 
hands  on  her  ;  and  then,  in  consoling  and  ministering 
to  the  fugitive  Christians  with  whom  her  house  was 
full,  he  prepared  for  his  own  approaching  death. 

S.  Maria  in  Domnica  is  the  only  church  in  Rome 
which  retains  the  ancient  name  of  Dominicum.  It  was 
the  first  of  the  diaconia  of  the  city,  and  the  Archdeacon 
of  Rome  resided  here.  This  is  another  instance  of  a 
saint  giving  her  house  as  a  Diaconia,  Titulus,  or 
Dominicum. 

A.D.  817.  Paschal  I.  found  it  nearly  ruinous,  and  rebuilt  and 
enlarged  it  from  the  foundation. 

John  de'  Medici,  afterwards  Leo  X.,  restored  it  in 
1500  from  Raffael's  designs,  aided,  it  is  said,  by 
Bramante.  It  was  again  restored  by  Pius  V.  The 
Doric  portico  of  travertine  is  the  work  of  Michel- 
angelo. There  are  3  doors  leading  respectively  to  the 
nave  and  2  aisles  of  the  church.  Eighteen  columns  of 
beautiful  and  rare  granite,  two  of  which  are  mixed 
red,  the  others  gray,  divide  the  very  wide  nave  from 
the  aisles.  The  roof  over  the  nave  was  constructed 
by  Cardinal  Ferdinand  di  Medici,  in  the  time  of 
Sixtus  V.  The  same  cardinal  renewed  the  pavement. 
The  roof  of  the  aisles  was  vaulted  by  Leo  X.  The 
chiaroscuro  frieze  which  runs  round  the  nave  is  the 
work  of  P.  del  Vaga,  designed  perhaps  by  Giulio 
Romano.      There  are  3  altars,  the  tribune  altar  and 


THE  CHURCHES  IN  ROME  279 

one  on  either  side,  at  the  end  of  the  aisles.  Six  steps 
on  each  side  ascend  to  the  tribune,  which  is  apsidal. 
In  the  confession  below  it  is  the  body  of  S.  Balbina. 

The  fine  mosaic  of  the  tribune  arch  is  the  work  of 
artists  of  the  time  of  Paschal,  placed  here  between 
817  and  821.  The  apse  is  the  work  of  the  same  pope, 
and  the  body  of  the  church  also  remains  as  originally 
reconstructed  by  him. 

The  mosaic  represents  the  Madonna  enthroned  with 
her  Child  ;  over  her  left  hand  she  has  a  white  niappula. 
Paschal  I.  in  alb  and  stole,  kneels  at  her  side,  facing 
the  church,  and  takes  her  foot  in  his  right  hand  ;  he 
has  the  square  (blue)  nimbus.  Crowds  of  angels  are 
represented  on  either  hand  ;  the  3  front  angels  on 
each  side  wear  the  gold  nimbus,  the  rest  blue — they 
are  all  female  figures.  On  the  arch  above,  is  an  oval 
with  the  figure  of  Christ,  an  angel  on  each  side,  and 
then  the  12  apostles  ;  all  the  figures  are  in  white. 
The  two  angels  wear  the  blue  nimbus,  the  apostles 
gold.  On  the  flanks  of  the  arch,  facing  the  church,  are 
2  prophetic  figures  who  point  to  the  Virgin  and  Child, 
with  scrolls  in  their  hands.  This  mosaic  was  restored 
by  Clement  XI.  The  arch  is  supported  by  2  porphyry 
columns.  The  altar  faces  the  church,  as  is  usual  in 
basilicas.  In  the  apse  behind  it  is  a  modern  episcopal 
chair  ;  and  there  are  remains  of  an  Alexandrine  pave- 
ment here.  The  side  chapels  are  also  apsidal ;  in 
that  to  the  right  of  the  spectator  is  frescoed  the  trans- 
figuration ;  to  the  left,  the  Baptism  of  Christ,  with  the 
Holy  Spirit  above,  and  the  inscription  "  Filio  altissimi," 
"  To  the  Son  of  the  Most  High." 

This  church  was  dedicated  to  the  Madonna  before 
the  time  of  Paschal.  It  may  be  found  open  early  on 
Sunday  morning,  the  congregation  perhaps  consisting 
of  an  old  woman  and  the  server,  and  a  carter  who  has 
left  his  hay-laden  waggon  outside,  the  sound  of  the 
horses'  bells  and  the  scent  of  the  hay  coming  in  at 
the  open  door  while  the  Greco- Melchite  mass  proceeds 
within. 


28o       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

,  In  the  time  of  Honorius  IV.  the  hill  is  called  Mons 
Major,  the  Greater  Hill.  Severano  considers  that  the 
Navicella  may  have  been  placed  here  by  the  Vatican 
chapter,  which  possessed  this  part  of  the  Celian  ; 
others  say  it  was  placed  on  account  of  a  vow.  Leo  X. 
removed  the  original  antique,  and  substituted  the  copy 
which  we  now  see.  The  spot  is  not  called  "  Navicella" 
in  any  document  earher  than  the  xvi.  century;  and 
it  is  a  pity  that  any  other  name  than  S.  Maria  in 
Domnica  should  become  popular  for  this  church. 

The  church  is  opened  for  the  Station  on  the  2nd  Sunday  in 
Lent, 

For  S.  Cyriaca  see  her  catacomb,  Chapter  X. 

S.  MAEIA  LIBERATEICE.— This,  the  only  church  to  the 
south  of  the  Forum,  was  erected  upon  an  older  build- 
ing hidden  and  covered  with  ruins  at  the  time.  The 
existence  of  this  lower  church  was  first  discovered  in 
the  XVI.  century,  and  an  account  of  the  discovery  was 
found  by  Armellini  in  the  Vatican  Library.''  It  was 
later  seen  to  be  decorated  with  paintings  of  the  viii. 
century,  and  to  communicate  by  means  of  a  gallery 
with  an  ancient  hall  of  the  Palatine,  both  hall  and 
gallery  ornamented  with  paintings  of  the  xi.  century. 
The  church  was  originally  called  S.  Maria  dell'  Inferno, 
from  its  being  so  encumbered  with  high  ground  and 
fallen  ruins  that  it  stood  as  it  were,  in  a  pit,  and  when 
the  lower  church  was  found,  further  excavation  was 
impossible.  It  is  much  to  be  hoped  that  now  when 
excavation  is  comparatively  easy,  efforts  will  be  made 
to  bring  to  light  the  hidden  basilica  and  its  treasures. 
An  odd  legend  attached  to  this  church — that  here  Pope 
Sylvester  subdued  a  dragon,  a  legend  which  De  Rossi 
ingeniously  suggests  may  have  originated  with  the 
suppression  of  the  cult  of  Vesta  and  the  dragon  that 
accompanies  her.f 

A  monastery  of  Benedictines,  first  of  monks,  then 
of  nuns  existed  near  the  church.     In  the  xv.  century 

*  Galletti,  Cron.  Miscell.,  xxxiii. 
t  ArmelUni,  Chiese  di  Roma. 


THE  CHURCHES  IN  ROME  281 

however,  both  house  and  church  were  abandoned,  and 
in  1550  were  given  to  the  Oblates  of  Tor  de'  Specchi 
who  still  possess  the  church.  The  name  "  S.  Maria 
deir  Inferno  "  was  later  changed  to  "  S.  Maria  libera 
nos  a  poenis  infernis,"  and  is  now  S.  Maria  Liberatrice. 
In  1617  the  church  was  completely  restored  by  Cardinal 
Lante. 

S.  MABIA  SOPEA  MINERVA  stands  near  the  site  of  a 
temple  dedicated  to  Minerva,  which  was  built  by 
Pompey  in  thanksgiving  for  his  victories  in  Asia. 
Until  the  xvi.  century,  the  cella  of  the  temple  still 
existed  in  the  contiguous  monastery.  The  church 
was  given  by  Pope  Zacharias  about  750  to  the  Greek 
nuns  of  Campo  Marzio,  who  subsequently  abandoned 
it.  The  anonymous  writer  of  the  Einsiedeln  Itinerary 
of  the  VIII.  century  notes  the  convent  of  S.  Maria 
ml  Minervium.  In  1370  the  Senate  and  Roman  people 
gave  the  church  to  the  Friars  Preachers,  who  finding 
S.  Sabina  inconvenient,  desired  a  site  within  the  city. 
Nicholas  III.  had  begun  to  rebuild  the  church  in  1280 
from  the  designs  of  the  brothers  Sisto  and  Ristori,  the 
architects  of  S.  Maria  Novella  in  Florence.  It  was 
finished  by  the  Dominicans  when  it  passed  into  their 
hands,  the  expenses  being  defrayed  by  the  contribu- 
tions of  many  illustrious  Romans  and  others.  The 
architect  of  the  building  is  unknown  ;  he  was  probably 
a  Florentine,  and  the  church  is  the  only  one  of  im- 
portance in  Rome  of  Gothic  style.  The  tribune  was 
added  later  by  Carlo  Maderno.  The  fa9ade  is  un- 
finished, and  is  chiefly  interesting  for  the  marks  it 
bears  recording  the  floods  from  the  overflow  of  the 
Tiber  during  400  years.  The  church  was  restored 
and  redecorated  in  1848,  with  the  most  brilliant  colours 
and  stucco,  which  has  considerably  spoiled  the  sim- 
plicity and  harmony  of  the  interior.  It  consists  of  a  interior, 
nave  divided  from  2  aisles  by  6  piers  of  fine  gray 
marble  ;  the  roof  is  vaulted.  There  is  a  wide  transept, 
and  6  chapels  in  either  aisle.  The  church  contains 
paintings  and  monuments  of  considerable  interest. 


282       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Monu- 
ments 
by  main 
entrance. 


Right 
aisle. 
Chapels 


Right 
transept. 


Immediately  to  the  left  of  the  main  entrance  is  the 
monument  of  Francesco  Tornabuoni,  by  Mino  da 
Fiesole  ;  above  it,  that  of  Cardinal  Tebaldi,  ob.  1466, 
by  Andrea  del  Verocchio ;  and  the  monument  of  the 
Pacci  family,  by  Giacomo  della  Porta.  On  the  right, 
the  tomb  of  Diotisalvi,  a  Florentine  knight,  ob.  1482. 

In  the  right  aisle  are  the  following  chapels : 

I.  After  the  baptistery,  that  of  the  Caffarelli  family, 
containing  a  picture  of  S.  Lewis  Bertrand  by  Baciccio, 
and  paintings  on  the  pilasters  by  Muziano. 

II.  The  Colonna  chapel,  with  an  altar-piece  of  S. 
Catherine,  and  the  tomb  of  Princess  Colonna  who 
died  of  cholera  at  Genzano  in  1868. 

III.  The  Gabrielli  chapel,  with  frescoes  on  the  roof 
by  Muziano. 

IV.  Chapel  of  the  Annunciation,  Vault  painted  by 
Cesare  Nebbia.  The  altar-piece  of  the  Anunciation, 
with  a  gold  background,  is  by  Fra  Angelico,  or  by 
Benozzo  Gozzoli.  In  the  foreground  of  this  picture 
Cardinal  Torrecremata  is  recommending  three  young 
girls  to  the  Virgin.  In  this  chapel  is  the  tomb  of 
Urban  VII.,  ob.  1590,  by  Buonvicino,  and  that  of 
Cardinal  Torrecremata.  Between  this  chapel  and  the 
preceding  one,  is  a  Greek  sarcophagus  near  the  closed 
door. 

V.  Aldobrandini  chapel,  designed  by  Giacomo  della 
Porta.  The  paintings  are  by  Alberti,  and  the  altar- 
piece  of  the  "  last  Supper  "  by  Baroccio.  This  chapel 
contains  the  monument  to  the  two  parents  of  Cle- 
ment VIII.  The  figures  upon  this,  and  those  of  S. 
Sebastian  and  "Charity,"  are  by  Cordieri.  "  Religion" 
is  by  Mariani,  and  Clement  VIII.  is  by  I.  Buzio. 

VI.  This  chapel  contains  2  xvi.  century  monuments 
to  Didacus  de  Coca  a  Spanish  bishop,  and  to  Benedetto 
Superanzio,  a  Venetian,  and  the  grave  of  one  of  the 
sons  of  William  Wilberforce,  a  Catholic  convert.  On 
the  wall  beyond  this  chapel  is  a  fresco  of  S.  Agata  and 
S.  Lucia,  placed  here  by  Honesta  Marsiliana. 

Immediately  on  entering  the  transept,  to  the  right, 


THE  CHURCHES  IN  ROME  283 

is  a  small  chapel  containing  a  wooden  crucifix  said 
to  be  the  work  of  Giotto,     At  the  end  of  the  right 
transept  is  the  chapel  of  S.  Thomas  Aquinas.     The  chapel  of 
paintings  of  this  chapel  are  by  Filippino  Lippi.     In  a  S.Thomas 
picture  of  the  Annunciation  over  the  altar,  Cardinal  Aquinas. 
Caraifa    is    depicted    with    S.    Thomas    before    the 
Madonna.     The  fresco  of  the  Assumption  behind  has 
been  much  injured  ;  to  the  right,  is  S.  Thomas'  dispu- 
tation with  the  heretics  ;  to  the  left,  the  monument  to 
the  Caraffa  pope,  Paul  IV.,  by  Pirro  Ligorio.     The 
ceiling  of  the  chapel  is  painted  by  Raphael  del  Garbo, 
and  there  is  a  fine  ancient  pavement. 

Just  outside  this  chapel  is  a  beautiful  monument  to 
the  Dominican  Guillaume  Durand,  Bishop  of  Mende, 
ob.  1296,  by  one  of  the  celebrated  family  of  the  Cos- 
mati.  Above  is  a  mosaic  of  the  Madonna  and  Child, 
with  the  bishop,  S.  Dominic,  S.  Matthew,  and  other 
saints.  Next  the  chapel  of  S.  Thomas  is  that  of  the 
Altieri  family,  with  an  altar-piece  by  Maratta  ;  it  re-  Altieri 
presents  the  saints  canonized  by  Clement  X.  presented  Chapel, 
by  S.  Peter  to  the  Madonna. 

The  next  chapel  contains  frescoes   on  the  ceiling  Rosary 
by  Venusti ;   an  altar-piece  which  has  been  ascribed.  Chapel, 
though  erroneously,  to  Fra   Angelico  ;  and  upon  the 
walls,  frescoes  by  Giovanni  de'  Vecchi,  representing 
the  life  of  S.  Catherine.     On  the  right,  the  saint  mira- 
culously fed  by  the  Eucharist,  receiving  the  stigmata, 
and  her  visit  to  Gregory  ;  on  the  left,  the  sposalizio, 
her  receiving  the  habit,  and  praying  in  her  room.     On 
the  left  of  this  chapel  is  a  fine  monument  to  Cardinal 
Capranica,  titular  of  S.  Croce  in  Gerusalemme  under 
Paul  II.     The  body  of  S.  Catherine  originally  in  this 
chapel,  is  now  under  the  high  altar  in  a  glass  shrine.  High 
On  the  left  of  the  high  altar  is  Michael  Angelo's  statue  altar, 
of  Christ  Risen,  a  work  of  1521,  and  the  only  work  of 
this  artist  in  Rome  in  the  time  of  Leo  X.     Behind  the 
altar,   in   the   choir,  are    two   monuments  to   Medici  Choir, 
popes,  Leo  X.  and  Clement  VII.,  by  Baccio  Bandinelli. 
The  figures  of  the  popes  are,  the  former  by  Raphael 


284       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Left  tran- 
sept. 
Chapel 
of  S. 
Dominic. 
Sacristy. 


da  Montelupo,  and  the  latter  by  Nanni  di  Baccio 
Bigio.  The  pavement  of  the  choir  was  originally 
covered  with  sepulchral  inscriptions,  which  in  recent 
restorations  have  been  moved  and  misplaced.  That 
to  Cardinal  Bembo,  the  friend  of  Michael  Angelo 
Raphael  and  Ariosto,  still  remains ;  and  here  also  is 
an  inscription  to  Cardinal  Howard,  who  died  in  Rome 
in  1694.     The  glass  of  the  choir  is  modern. 

Beyond  the  high  altar  is  a  second  entrance  to  the 
church,  and  in  the  wall  of  the  passage-way  is  an  in- 
scription to  Fra  Angelico,  and  a  figure  of  the  monk  in 
relief,  with  the  words  at  his  feet,  "  Hie  jacet  Vene"^ 
Picto  Fr.  Jo  de  Flo.  ordis  Predicato.  1455."  He  died 
in  the  annexed  monastery  in  that  year.  Beside  it  is 
the  monument  of  Cardinal  Bonelli  Bishop  of  Albano, 
by  Rainaldi,  and  opposite  beautiful  monuments  to  two 
Cardinals  Orsini,  and  other  members  of  the  order. 
In  the  chapel  beyond  are  some  fine  bas-relief  monu- 
ments in  the  pavement,  and  the  monument  of  Cardinal 
Ladislaus  da  Aquina,  by  Mochi. 

In  the  left  transept  is  a  chapel  dedicated  to 
S.  Dominic,  and  decorated  with  some  fine  columns 
of  black  marble.  On  the  left  is  the  monument  of 
Benedict  XIII.,  ob.  1730,  by  Marchionni. 

Close  by  is  the  entrance  to  the  sacristy.  Over  the 
door  on  the  inside,  is  a  fresco  representing  the  conclave 
held  here  in  1431  for  the  election  of  Eugenius  IV. 
Nicholas  V.  was  also  elected  here  in  1447. 

Over  the  altar  is  a  Crucifixion  by  Andrea  Sacchi. 
The  frescoes  of  the  ceiling  are  by  Giuseppe  del  Bastaro. 

A  door  at  the  further  end  leads  up  some  steps  to 
the  room  of  S.  Catherine,  occupied  by  her  when  in 
Rome,  and  the  walls  of  w^hich  were  transferred  here 
bodily  from  a  house  in  the  adjoining  Via  di  Santa 
Chiara.  These  walls  are  covered  with  frescoes  by 
Perugino,  very  difficult  to  see.  Over  the  altar  is  a 
Crucifixion  ;  to  the  left,  the  Annunciation.  The  altar 
of  the  chapel  is  decorated  with  a  bas-relief  of  the 
Sposalizio. 


THE  CHURCHES  IN  ROME  285 

Returning  to  the  church,  the  chapels  in  the  left  aisle  Left  aisle. 
are  as  follows : 

VI.,  and  nearest  the  transept,  contains  the  tomb  of 
Pius  v.,  a  Dominican  pope. 

V.  This  chapel  is  dedicated  to  S.  James  the  Apostle ; 
it  contains  two  good  sepulchral  monuments,  one  of 
them  of  Princess  Lante,  by  Tenerani. 

IV.  The  S.  Vincent  Ferrer  chapel.  It  contains  a 
picture  of  this  saint  preaching,  by  Bernardo  Castelli. 

III.  The  Maffei  chapel,  contains  a  small  picture  of 
Christ,  said  to  be  Perugino's ;  a  small  statue  of 
S.  Sebastian,  by  Mino  da  Fiesole  ;  and  two  monu- 
ments to  the  Maffei  family. 

II.  This  chapel  contains  two  curious  xvi.  century 
monuments. 

The  annexed  monastery  is  the  Mother-house  of  the 
Dominicans  in  Rome,  and  the  residence  of  the  General 
of  the  order.  The  greater  portion  has  been  taken  by 
the  Government  for  the  ministerial  offices  of  Public 
Instruction.  The  old  cloisters  of  the  convent  which 
now  form  part  of  the  Government  property,  are  deco- 
rated throughout  with  frescoes ;  those  in  the  first 
arcades  by  Giovanni  Valesio  a  Bolognese,  G.  A.  LelH, 
and  G.  del  Bastaro.  In  the  second  branch  of  the 
cloister  are  some  antique  sepulchral  monuments  re- 
moved from  the  church,  and  that  of  Cardinal  Ferrici, 
a  Spaniard,  titular  of  S.  Sisto,  ob.  1487. 

Feast  days. — March  25,  its  titular  feast.  Feast  of  S.  Catherine, 
April  30  ;  S.  Dominic,  August  10  ;  S.  Thomas  Aquinas,  March  7  ; 
and  all  Dominican  feasts. 

For  the  Library,  see  Part  IV.  of  this  Handbook. 

8.  MARIA  DEI  MIRACOLI  one  of  the  twin  churches 
upon  the  Piazza  del  Popolo,  between  the  extremity  of 
the  Corso  and  Via  di  Ripetta,  was  begun  in  1664 
from  designs  of  Rainaldi,  and  built  by  order  of 
Clement  VIII.  to  receive  an  image  of  the  Madonna 
held  by  the  people  to  be  miraculous.  The  church 
was  not  finished  till  much  later,  and  at  the  expense  of 
Cardinal  Gastaldi,  from  the  designs  of   Bernini  and 


286       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Fontana.     The  interior  is  circular.     It  has  a  hand- 
some travertine  portico  supporting  stone  statues. 

8.  MAEIA  DI  MONSEREATO  is  the  national  church  of 
the  Spaniards.  It  was  built  in  151 8  by  the  natives  of 
Arragon  and  Catalonia.  It  replaced  an  older  church 
due  to  the  generosity  of  two  women,  Jacoba  Ferrandes 
of  Barcelona  and  Margherita  Pauli  01  Majorca,  who  in 
the  XIV,  century  bought  and  endowed  a  house  and 
hospital  for  their  compatriots.  In  1495  the  Spanish 
confraternity  of  S.  Maria  di  Monserrato  was  established 
here. 

The  income  of  the  institution  was  so  much  diminished 
in  the  xviii.  century  that  the  image  of  Our  Lady 
of  Monserrato  had  to  be  sold,  and  is  now  at  Genez- 
zano.  The  treasures  of  S.  Giacomo  in  Piazza  Navona 
were  transferred  to  it  in  1822  when  the  church  was 
reconsecrated. 

The  bodies  of  the  two  Spanish  popes,  Callixtus  III. 
and  Alexander  VI.,  were  removed  to  this  church  in 
i6io.  Buried  in  S.  Maria  della  Febbre  of  the  Vatican, 
they  were  removed  thence  by  Sixtus  V.  for  the  build- 
ing of  new  S.  Peter's,  and  after  lying  in  diverse  places 
in  the  Vatican,  were  brought  to  this  church.  Here 
they  lay  in  rough  cases  in  the  sacristy,  until  finally 
buried  in  the  chapel  of  S.  Diego  in  1889. 

This  church  was  designed  by  San  Gallo ;  its  unfinished 
fa9ade  is  by  Francesco  da  Volterra.  It  has  a  single 
nave,  with  6  chapels  on  either  side  crowned  with 
cupolas.  In  the  Jirst  chapel  on  the  right  is  a  painting 
of  S.  Diego  by  Annibale  Caracci ;  to  the  right,  a  copy 
of  Mengs'  Judgment  of  Solomon.  In  the  tJiird  chapel 
on  the  left,  is  a  statue  of  S.  James  by  Bernini ;  in  the 
first,  a  marble  group  of  the  Madonna  and  Child  with 
S.  Anna,  by  Tommaso  Bozzoli.  A  small  and  ancient 
bas-relief  of  the  Baptism  is  attached  to  the  pier  of  this 
chapel. 

S.  MAEIA  DI  MONTE  SANTO  upon  the  Piazza  del  Popolo, 
at  the  extremity  of  the  Via  Babuino,  was  built  in  1662 


THE  CHURCHES  IN  ROME  287 

from  designs  of  Bernini  and  at  the  expense  of  Cardinal 
Gastaldi.  Its  name  is  derived  from  a  small  chapel 
belonging  to  the  Carmelite  order,  which  stood  upon 
the  site.  The  convent  annexed  to  it,  and  the  campanile 
were  designed  by  Marchese  Theodoli.  The  church  is 
now  under  the  patronage  of  the  Borghese  family.  The 
feast  of  S.  Lucia,  December  13,  is  celebrated  in  this 
church. 

S.  MARIA  DELL'  ORTO  in  Trastevere  derives  its  name 
from  an  image  of  the  Virgin  at  one  time  upon  the  gate 
of  a  neighbouring  garden.  It  belongs  to  the  fruiterers' 
and  cheesemongers'  guild,  who  possess  the  adjacent 
hospital  for  members  of  their  craft.  Michael  Angelo 
made  the  first  designs  for  the  church,  but  it  was  not 
erected  until  15 12  when  Giulio  Romano  was  its  archi- 
tect. The  fa9ade  is  by  Martino  Lunghi ;  the  high  altar 
by  Giacomo  della  Porta.  The  interior  is  decorated 
with  rich  marbles.  It  contains  a  picture  of  the  An- 
nunciation by  Taddeo  Zucchero,  in  the  first  chapel  on 
the  right;  and  a  Virgin  with  S.  Antonio  and  S.  Cathe- 
rine, by  Federico  Zucchero,  in  the  second  chapel.  The 
frescoes  of  the  transept  are  by  Pesaro,  and  the  paint- 
ings in  the  first  and  third  chapels  on  the  left,  are  by 
Baglioni. 

S.  MARLA  DELLA  PACE  is  the  church  of  the  water- 
carriers.  Water  vendors  were  a  necessity  of  the 
middle  ages.  The  city,  a  labyrinth  of  Httle  streets 
and  great  ruins,  was  without  fountains  of  any  Icind. 
Those  in  need  of  water  had  to  fetch  it  from  the  Tiber, 
and  it  is  related  in  the  life  of  S.  Francesca  Romana 
that  her  sister  was  nearly  drowned  while  thus  em- 
ployed. The  water-carriers  owned  a  little  church  of 
S.  Andrew  in  the  time  of  Sixtus  IV.  (1471),  and  in  its 
porch  stood  a  picture  of  the  Madonna.  According  to 
tradition,  a  stone  was  thrown  at  the  picture,  which 
bled ;  whereupon  the  pope  who  was  at  this  time  in 
fear  of  a  general  war  among  the  states  of  the  Penin- 
sula, vowed  to  build  a  beautiful  church  upon  the  spot, 


288       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

if  delivered  from  his  troubles.  When  this  occurred, 
he  built  the  church  of  S.  Maria  della  Pace  in  1487, 
which  was  completed  by  Alexander  VII.  who  also 
implored  deliverance  from  trouble  at  this  spot.  The 
picture  of  the  legend  is  now  above  the  high  altar. 
The  architect  of  the  church  was  Baccio  PintelU.  It 
was  completely  renewed  by  Alexander  VII.  who  added 
the  semicircular  portico  and  fa9ade,  from  designs  of 
Pietro  da  Cortona.  It  has  a  short  nave  and  an  oc- 
tagonal transept  with  a  cupola. 

Chapels.  The  first  chapel  to  the  right  belongs  to  the  Chigi 
family.  Upon  the  arch  are  the  four  sibyls,  the 
Cumaean,  Persian,  Phrygian  and  Tiburtine  painted  by 
Raphael  in  15 14,  commissioned  by  the  banker  Agos- 
tino  Chigi.  They  are  considered  to  be  some  of  his  best 
works.  Above  are  Prophets  from  Raphael's  drawings 
executed  by  Rosso  Florentino.  The  bronze  relief 
over  the  altar  is  by  C.  Fancelli ;  the  bas-rehef  of 
children  and  the  statue  of  S.  Bernardino  are  by 
E.  Ferrata. 

The  second  or  Cesi  chapel  was  designed  by  Michael 
Angelo,  and  contains  two  monuments  to  this  family. 
The  bas-reliefs  are  by  Simone  Mosca,  and  the  vault 
frescoes  by  Sicciolante. 

High  The  High  Altar  was  designed  by  Carlo  Maderno.    In 

the  vault  are  paintings  by  Albano,  and  on  the  four  pilas- 
ters, four  saints  by  Lavinia  Fontana ;  the  other  paintings 
are  by  Passignani.  Beneath  the  cupola  are  four  paint- 
ings :  the  "  Visitation,"  by  Maratta  ;  the  "  Presenta- 
tion," by  Peruzzi ;  the  "  Nativity,"  by  Francesco 
Vanni ;  and  the  "  Death  of  the  Virgin,"  by  Morandi. 

In  the  first  chapel  on  the  left,  belonging  to  the 
Ponzetti  family,  a  fresco  of  Peruzzi  has  been  found 
beneath  a  modern  painting.  In  the  vaulting  of  this 
chapel  are  some  scenes  from  the  Old  and  New  Testa- 
ments, by  Peruzzi.  The  annexed  monastery,  built  in 
1494,  was  the  work  of  Bramante,  and  was  given  to 
the  Canons  Regular  of  the  Lateran.  Under  Pius  VI I. 
it  passed  to  the  Irish  Dominicans,  now  at  S.  Clemente. 


Altar. 


THE  CHURCHES  IN  ROME  289 

S.  Maria  della  Pace  is  now  a  missionary  church,  and 
a  centre  for  the  reunions  and  retreats  of  the  clergy. 
Its  titular  is  Cardinal  Logue.  The  approach  to  this 
picturesque  church  with  its  quaint  portico,  is  through 
some  of  the  old  fashioned  streets  of  Rome  behind 
Piazza  Navona. 

s.  MABIA  DELLA  PIETA. — This  church,  with  a  German 
hospital  and  college,  stands  in  the  Teutonic  Campo 
Santo,  to  the  south  of  the  Vatican  basilica,  on  the  site 
of  the  Lombard  settlement.  It  is  a  modern  church,  but 
its  site  is  of  great  interest.  Close  by  is  the  place  where 
S.  Peter  suffered,  and  the  present  little  cemetery  is  the 
only  spot  which  now  reminds  us  of  the  contemporary 
catacomb  of  Livia,  where  his  body  was  laid  to  rest. 
The  Anglo-Saxons  had  their  settlement  near.  From 
the  time  of  Pope  Zacharias  (741-752)  to  1779  there 
existed  here  a  hospice  for  providing  pilgrims  with 
food,  and  until  1624  it  was  also  the  office  of  the  ponti- 
fical almoner.  The  old  hospital  was  destroyed  by 
Pius  VI.  to  enlarge  the  space  round  the  basilica,  and 
the  present  church  built  upon  a  portion  of  the  ground, 
the  cemetery  being  granted  to  the  Germans.''- 

S.  ELIZABETTA  is  the  oratory  in  this  Teutonic  Campo 
Santo,  and  belongs  to  the  confraternity  "  della  Pieta," 
It  inherits  its  name  from  a  church  of  S.  Elizabeth  near 
the  Valle,  belonging  to  the  guild  of  German  bakers. 

8.  MARIA  DEL  POPOLO.-— A  chapel  was  built  upon  this 
site  in  1099  by  Paschal  II.  to  dispel  the  evil  spirits 
which  according  to  a  popular  tradition,  haunted  the 
spot  where  lay  the  ashes  of  Nero.  It  was  replaced  by 
a  finer  building  in  1227,  to  which  Gregory  IX.  moved 
an   image   of  the   Virgin   from   the    Lateran.      This 

•  The  Germans  were  settled  on  this  spot  in  the  xiv.  century. 
An  ancient  church,  the  site  of  which  was  the  present  chapel  of 
the  Crucifix  in  S.  M.  della  Piet^,  had  attached  to  it  a  cemetery 
for  those  who  died  during  their  pilgrimage  to  Rome,  hence  its 
name  S.  Salvatore  De  Ossibus :  the  Schola  of  the  Franks,  founded 
by  Charlemagne,  was  annexed  to  it.  (See  also  Confraternities, 
Part  III.) 

19 


290       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Chapels : 

Right 

aisle. 


Right 
transept. 


Choir. 


church  was  rebuilt  by  Sixtus  IV.  from  designs  of 
Pintelli  (1480) ;  Juhus  II.  decorated  the  interior;  and 
Alexander  VII.  employed  Bernini  to  reduce  it  to  its 
present  form.  During  the  sack  of  Rome  in  1527  the 
adjoining  convent  was  destroyed,  and  was  rebuilt  by 
the  Lombards.  In  this  convent,  an  Augustinian  house, 
Luther  stayed  when  in  Rome.  Parishes,  especially 
rural  parishes,  were  in  the  middle  ages  called  plehes  and 
populi,  and  hence  probably  the  name  of  this  church. 
It  contains  paintings  and  monuments  of  considerable 
interest.     The  chapels  are  as  follows  : 

I.  The  first  on  the  right,  the  Rovere  chapel,  dedicated 
to  the  Madonna  and  S.  Jerome,  contains  a  series  of 
beautiful  frescoes  of  the  life  of  Jerome  in  the  lunettes 
of  the  vault,  and  an  altar-piece  of  the  Nativity,  by 
Pinturicchio.  Here  are  the  tombs  of  Cardinal  della 
Rovere,  ob.  under  Sixtus  IV.,  and  Cardinal  de  Castro, 
a  Spaniard,  ob.  under  Julius  II. 

II.  The  Cibo  chapel,  designed  by  Fontana,  contains 
an  Assumption  by  Maratta,  and  bronze  decorations  by 
Cavallini,  and  the  tombs  of  the  Cardinals  Alexander 
and  Laurence  Cibo.  It  is  handsomely  decorated  with 
marble. 

III.  This  chapel  is  decorated  by  Pintviricchio  with 
five  lunettes  of  the  life  of  the  Madonna  ;  over  the  altar, 
a  painting  of  four  saints  with  the  Madonna.  Here  is 
the  monument  of  Giovanni  della  Rovere,  xvi.  century  ; 
and  the  tomb  of  a  bishop,  the  figure  in  bronze. 

IV.  This  chapel  contains  frescoes  by  Pinturicchio  in 
the  lunettes,  and  a  xvi.  century  altar-piece  ;  also  the 
monuments  of  Cardinal  Costa,  ob.  1508,  and  of  Alber- 
toni,  ob.  i486.  The  altar-piece  is  a  marble  bas-relief 
of  the  XV.  century,  representing  S.  Catherine  with 
S.  Vincent  and  S.  Antony  of  Padua. 

Immediately  to  the  right  on  entering  the  transept, 
is  the  tomb  of  Cardinal  Podocatharus ;  beside  it  a  door 
leading  to  the  sacristy,  where  are  kept  a  fine  xv.  cen- 
tury marble  canopy  from  the  older  church,  and  the 
monuments  to  bishops  Rocca  and  Gomiel. 

The  vault  of  the  choir  is  decorated  by  Pinturicchio. 


THE  CHURCHES  IN  ROME  291 

In  the  centre,  the  Redeemer  and  the  Madonna ;  beneath, 
the  four  Evangehsts,  four  sibyls,  and  the  four  doctors  of 
the  church,  all  the  paintings  surrounded  by  arabesques. 
Here  are  the  tombs  of  Cardinals  Sforza  and  Basso, 
by  Andrea  da  Sansovino,  of  the  early  xvi.  century. 
The  painted  glass,  executed  by  order  of  Julius  II.,  is 
the  work  of  Claude  and  Guillaume  of  Marseilles.  The  Left 
chapel  beyond  contains  a  painting  of  the  Assumption,  transept, 
by  Caracci,  and  a  Crucifixion  and  Conversion  of  S. 
Paul,  by  Caravaggio. 

IV.  This  chapel,  that  of  the  Crucifix,  is  decorated  Left  aisle, 
with  frescoes  of  the  Flemish  school. 

III.  The  third,  the  Melhni  chapel,  contains  two  monu- 
ments of  this  family  by  Algardi ;  it  is  painted  by  G.  da 
Giovanni.  It  also  contains  the  monument  of  Cardinal 
Mellini,  ob.  1478. 

1 1 .  The  Chigi  chapel  was  built  from  designs  of  Raphael. 
Upon  the  ceiling  are  mosaics  designed  by  this  artist, 
and  executed  by  Aloisio  della  Pace.  The  altar-piece, 
the  Nativity  of  the  Virgin,  is  by  S.  del  Piombo  ;  the 
Jonah  was  designed  by  Raphael.  Daniel,  Habbacuc, 
and  the  tasteless  monuments  of  the  Chigi  family,  are 
Bernini's. 

I .  In  this  chapel  are  the  tombs  of  Cardinals  Castiglione 
and  Pallavicino,  of  the  xv.  century,  and  some  bas-reliefs 
of  the  XIV. 

B.  MAEIA  IN  TEASPONTINA.— The  present  church  of 
this  name  in  the  Borgo  leading  to  S.  Peter's  was  built 
in  1566.  It  replaces  however,  a  much  older  church 
of  the  same  name  mentioned  in  the  catalogues  as  early 
as  the  XII.  century,  and  destroyed  to  make  room  for 
new  bastions  to  the  fort.  The  mediaeval  itineraries 
speak  of  the  ruins  of  some  Roman  tombs  close  to  this 
church,  one  pf  which,  pyramidal  in  form,  was  popularly 
held  to  be  the  tomb  of  Romulus. 

8.  MARIA  IN  TBA8TEVEEE.  —  The  Christians  were 
allowed  a  place  of  assembly  in  Trastevere  by  the 
Emperor  Alexander  Severus  in  the  iii.  century,  which 
seems  to  have  been  a  kind  of  hospice  or  tavern,  the 

19 — 2 


292       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

taberna  meritoria,  to  which  an  inscription  originally  upon 
the  fa9ade  of  S.  Maria  in  Trastevere  referred.  It  is 
likely  that  a  church  was  afterwards  built  upon  this 
primitive  place  of  assembly,  as  was  usual  in  the  first 
centuries,  though  it  is  impossible  to  accept  as  historical 
the  later  entry  in  the  Liber  Pontificahs  that  it  was  built 
by  Pope  Callistus.  Tradition  however  asserts  that 
Callistus,  who  was  buried  on  the  neighbouring  Via 
Aurelia,  was  martyred  in  the  vicinity,  and  it  is  certain 
that  already  in  the  Constantinian  epoch  this  region 
was  known  as  area  Cdllisti,  a  term  which  appears  upon 
a  slave's  collar  of  the  period.  A  legend  also  attached 
to  the  church,  in  circulation  in  the  time  of  Eusebius,  to 
the  effect  that  a  well  of  oil  sprang  up  shortly  before 
the  birth  of  Christ  in  this  region,  but  the  origin  of 
this  legend  is  unknown. 

The  actual  history  of  the  church  of  S.  Maria  does 
not  begin  until  the  iv.  century,  when  Pope  Julius  I.* 
(337-352)  built  a  basilica,  henceforth  known  as  Titulus 
Julii.\  This  basilica  was  restored  by  John  VIII. 
(872-882),  and  its  walls  were  adorned  with  frescoes. 
Other  works  were  undertaken  in  the  church  by 
Gregory  II.  and  Gregory  III.  (731-741).  Adrian  I. 
added  two  additional  aisles,  and  Gregory  IV.,  in  828, 
built  a  monastery  adjacent,  and  raising  the  level  of 
the  tribune,  made  a  "  confession  "  beneath,  where  were 
deposited  the  bodies  of  Pope  Callistus  and  S.  Cale- 
podius.  This  pope  also  enclosed  within  a  marble 
balustrade  a  choir,  or  "  schola  cantorum,''  in  the  centre 
of  the  nave,  the  remains  of  which  were  discovered 
beneath  the  pavement  during  some  recent  restorations. 
Leo  IV.,  in  847,  and  Benedict  III.  (855)  both  under- 
took works  of  decoration  and  repair  in  the  church, 
and  finally  Innocent  II.  (1130)  had  it  almost  entirely 
rebuilt.  The  church  as  we  see  it  to-day,  and  the 
mosaics  of  the   tribune,  are  of  this  period.     Unfor- 

•  This  pope  built  another  church  over  the  tomb  of  CalHstus  on 
the  Via  Aureha,  where  he  was  himself  buried. 

t  It  is  uncertain  when  the  basilica  was  dedicated  to  the 
Madonna.  It  is  described  in  the  Liber  Pontificalis  as  "  Basilica 
Julia  juxta  Callistum." 


THE  CHURCHES  IN  ROME  293 

tunately,  it  again  "  suffered  restoration  "  at  the  hands 
of  later  popes,  and  it  cannot  be  too  deeply  deplored 
that  so  many  of  the  beautiful  basilicas  of  Rome  have 
been  injured,  and  some  of  them  entirely  ruined,  by 
restorations  undertaken  at  a  period  of  depraved  archi- 
tectural taste.  Pius  V.,  Clement  XL,  and  Pius  IX. 
were  all  restorers  of  S.  Maria  in  Trastevere.  Fontana 
designed  a  new  portico,  and  Domenichino  the  gorgeous 
ceiling  with  the  picture  of  the  Assumption  in  its  centre. 
The  old  Alexandrine  pavement  was  removed,  and  the 
present  one  of  marble  put  in  its  place. 

In  spite  of  all,  the  church  retains  much  of  its  primi-  Interior, 
tive  basilica  form.  The  24  red  granite  columns  dividing 
nave  from  aisles  are  of  different  orders  and  heights, 
and  were  probably  taken  from  a  temple  of  Isis,  as  they 
were  decorated  with  small  heads  of  Isis  and  Serapis, 
which  were  chipped  off  during  the  restorations  in  1870! 
These  same  restorations  brought  to  light  remains  of 
the  building  of  Julius  I.  in  the  tribune,  and  frescoes  of 
the  time  of  Gregory  IV.,  and  many  precious  inscrip- 
tions from  the  catacombs  which  had  been  used  as 
building  material,  and  which  are  now  collected  and 
attached  to  the  walls  of  the  portico. 

The  high  altar  is  of  the  time  of  Innocent  II.  (1130)  ;  High 
beneath  is  the  confession  ;  above  is  a  canopy,  also  of  ^-Itar. 
this  period,  upon  four  red  porphyry  pillars.     Close  by 
is  the  spot,   marked  by  the  words  Fons  Olei,   where 
according  to  the  legend,  the  oil  gushed  forth. 

The  mosaics  of  the  tribune  have  been  several  times  Mosaics, 
restored.  They  represent  in  the  centre,  the  Redeemer 
in  golden  mantle  and  blue  tunic,  holding  an  open  book 
in  His  hand,  upon  which  the  words  :  "  Veni  electa  mea 
et  ponam  in  te  thromim  meum,"  are  visible.  Beside 
Him  is  the  Virgin  arrayed  as  a  Byzantine  empress, 
and  beyond  her  Callistus,  S.  Laurence,  and  Pope 
Innocent  II.  On  the  other  side  of  the  Redeemer, 
Peter,  Cornelius,  and  Julius  I.  Above  is  the  hand 
holding  the  wreath,  typical  of  God,  and  below,  the 
usual  lamb  upon  the  mount,  with  the  6  sheep  on  either 
hand  and  the  two  mystic  cities.     Upon  the  face  of  the 


294       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


arch  is  an  equilateral  cross  in  the  centre  of  7  candle- 
sticks, the  prophets  Isaiah  and  Jeremiah,  and  the 
symbols  of  the  four  Evangelists.  Close  to  Isaiah  is  a 
palm  with  a  phoenix,  and  near  Jeremiah  a  bird  in  a 
cage. 
Lower  Lower  down  in  the  apse  of  the  tribune  is  a  second 

series.  series  of  mosaics,  representing  7  scenes  in  the  life  of 
the  Virgin  namely :  her  birth,  the  annunciation,  the 
nativity,  the  adoration  of  the  magi,  the  purification, 
and  her  death.  In  the  centre  above  the  bishop's 
throne,  is  a  bust  of  the  Virgin  and  Child  with  SS.  Peter 
and  Paul,  kneeling  below  is  the  figure  of  the  donor, 
one  Bertholdus,  of  the  Stefaneschi  family,  living  at  the 
end  of  the  xiii.  century,  and  who  was  buried  in  the 
church.  This  series  of  mosaics  is  by  the  celebrated 
mosaicist,  Pietro  Cavallini,  and  in  the  xvii.  century 
his  name  was  still  to  be  seen  upon  them,  "  Hoc  opus 
fecit  Petrus  .  .   ." 

There  are  two  large  frescoes  by  Ciampelli  in  the 
tribune. 
Chapels.  To  the  right  of  the  high  altar  is  a  chapel  designed 
by  Domenichino,  and  called  S.  Maria  di  Strada  Cupa 
from  a  picture  it  contains,  which  was  much  venerated 
by  the  people  in  a  little  street  in  Trastevere,  and  was 
removed  to  the  church  in  the  xvi.  century.  This 
chapel  was  restored  by  Cardinal  York.  Near  the  door 
into  the  sacristy  a  fragment  of  an  ancient  mosaic  has 
been  preserved ;  and  a  beautiful  tabernacle  for  the 
sacred  oils  by  Mino  da  Fiesole,  and  bearing  his  name. 
Over  the  altar  of  the  sacristy  is  a  painting,  said  to  be 
Perugino's,  of  the  Madonna  between  S.  Roch  and 
S.  Sebastian. 

There  are  many  monuments  of  interest  in  this  church. 
The  body  of  Innocent  II.  was  moved  here  from  the 
Lateran  by  Clement  V.,  and  the  plain  inscription  which 
marked  his  grave  is  now  in  the  portico,  Pius  IX.  having 
erected  to  him  a  more  elaborate  monument  in  the  left 
aisle.  In  the  left  transept  are  the  monuments  of 
Cardinal  d'Alen9on,  ob.  1403,  with  an  altar  to  SS.  Philip 
and  James  erected  by  him  close  by  ;  and  that  of  Car- 


THE  CHURCHES  IN  ROME  295 

dinal  Stefaneschi,  of  the  same  century.  Robert,  first 
Duke  Altemps,  and  prefect  of  Sixtus  V.'s  troops, 
ob.  1586,  is  also  buried  in  the  church  ;  also  the  painters 
Lanfranco  and  Giro  Ferri,  Giovanni  Bottari  the  Vatican 
librarian  and  canon  of  the  church,  ob,  1775,  and  many 
others. 

The  portico  which  precedes  the  church,  upon  four  Portico, 
columns  of  dark  granite,  contains  many  inscriptions, 
both  pagan  and  Christian,  collected  during  the  recent 
restorations.  Here  also  is  the  sepulchral  urn  of  two 
Cardinals  Campeggio,  one  of  whom  was  Legate  under 
Leo  X.,  and  was  sent  to  Henry  VHI.  of  England. 
Among  the  inscriptions  one  which  was  found  under  the 
floor  of  the  church  is  to  Mar^a  a  priest,  who  during 
the  disastrous  years  of  the  Gothic  war,  '*  relieved  the 
public  misery,"  and  practically  governed  Rome  during 
the  absence  of  Pope  Vigilius.  He  died  in  555.  The 
slab  which  bears  the  inscription  had  already  served  as 
the  sepulchral  stone  of  a  "  scribe  "  ob.  a.d.  451. 

The  mosaic  on  the  fa9ade  of  the  church  represents  Fa9ade 
the  Madonna  and  Child,  with  10  virgins  bearing  vases 
of  oil  ;  beneath,  the  kneeling  figures  of  two  donors. 
It  is  probable  that  these  mosaics  are  of  the  time  of 
Innocent  II.,  and  were  restored  by  Pietro  Cavallini  in 
the  XIV.  century.  The  two  donors  would  then  be 
Innocent  II.  and  Eugenius  III.,  who  completed  his 
work.  The  mosaics  have  been  several  times  restored. 
S.  Maria  in  Trastevere  is  a  parish  church,  and  gives 
its  title  to  a  cardinal  priest.  It  also  has  a  chapter  of 
canons,  who  in  1592  were  granted  the  privilege  of 
wearing  the  rochet.     For  S.  Callistus,  see  p.  205. 

Feast  day. — September  8. 

The  Station  is  on  the  3rd  Thursday  in  Lent. 

8.  MASIA  IN  VALLICELLA  takes  its  name  from  the 
region  of  low  ground  upon  which  it  is  built,  now  the 
new  Corso  Vittorio  Emanuele.  It  is  situated  in  the 
contrada  of  the  Parione,  so  called  from  the  ruins  of  an 
immense  wall  which  was  used  as  the  substructure  for 
the  left  wall  of  the  present  church.  The  old  church  of  ' 
S.  Maria  was  given  to  S.  Philip  Neri  by  Gregory  XIII., 


296       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Chapels : 

Right 

aisle. 

Right 
transept. 


High 
altar. 


Left 
transept. 

Left  aisle 


and  with  the  help  of  Cardinal  and  Bishop  Cesi, 
S.  Philip  rebuilt  it,  since  when  it  has  been  known  as 
Chiesa  Nuova.  This  was  in  1575.  The  adjoining 
monastery  which  was  the  house  of  the  Oratorians  and 
contained  the  Vallicellian  library,  is  now  used  as  Courts 
of  Justice  by  the  Italian  Government.  The  church 
was  designed  by  Giov.  da  Citta  di  Castello,  the  interior 
by  Martino  Lunghi  and  Borromini.  The  roof  of  the 
nave,  the  tribune  vault  and  cupola  were  painted  by 
Pietro  da  Cortona.  The  church  is  a  large  one  and 
the  interior  is  richly  decorated,  it  contains  paintings 
of  interest,  which  are  however,  difficult  to  see  well 
owing  to  the  bad  light. 

The  chapels  are  as  follows  :  In  the  first  to  the  right, 
a  Crucifixion  by  Scipione  Gaetano.  In  the  second,  a 
Deposition  by  Caravaggio.  In  the  third,  an  Ascen- 
sion by  Muziano. 

The  chapel  in  the  right  transept  contains  a  Corona- 
tion of  the  Madonna  by  d'  Arpino,  and  two  statues  of 
S.  John  Evangelist  and  Baptist,  by  Vacca.  Beyond 
is  the  Spada  chapel,  with  a  picture  by  Maratta.  The 
three  paintings  in  the  choir  are  by  Rubens ;  repre- 
senting the  Virgin  over  the  high  altar ;  to  the  right 
and  left  :  S.  Dominic,  S.  Nereus  and  S.  Achilleus, 
and  S.  Gregory  with  SS.  Maurus  and  Papias. 

The  chapel  to  the  left  of  the  high  altar  contains  the 
body  of  S.  Philip ;  above  the  altar  stands  a  mosaic 
copy  of  Guido's  picture  in  the  Vatican. 

The  chapel  in  the  left  transept  has  an  altar-piece  by 
Baroccio. 

In  the  fourth  chapel  in  the  left  aisle  is  a  Visitation 
by  the  same  painter,  and  in  the  first,  the  Purification  by 
d'  Arpino. 

A  statue  of  S.  Philip  by  Algardi  stands  in  the 
sacristy.  The  ceiling  here  is  also  painted  by  Pietro 
da  Cortona.  Beyond  are  stairs,  which  lead  to  the 
room  used  by  S.  Philip,  which  still  contains  many 
objects  belonging  to  him.  Cardinal  Baronius  is  buried 
in  this  church. 


THE  CHURCHES  IN  ROME  297 

S.  MARIA  IN  VIA,  at  the  extremity  of  the  Via  Tritone 
Nuova,  is  generally  said  to  date  from  the  xiii.  cen- 
tury, but  is  in  fact,  older  than  this,  as  it  is  mentioned 
in  a  document  as  early  as  1165.  The  story  of  its 
origin  is  as  follows  :  Cardinal  Capocci  found  a  picture 
of  the  Madonna  miraculously  floating  upon  the  sur- 
face of  a  well  in  his  palace  ;  he  thereupon  built  a 
church  in  which  to  place  the  image.  As  this  was  in 
1256,  it  is  probable  that  he  only  rebuilt  an  already 
existing  edifice.  The  well  of  his  palace  was  included 
in  the  new  building,  and  until  the  time  of  Alexander  VII . 
was  believed  to  contain  a  stone  from  the  well  of 
Samaria.  The  older  church  faced  the  Via  Flaminia, 
the  original  level  of  which,  as  recent  excavations  have 
shown,  was  6  metres  lower  than  the  present  Corso,  and 
it  derived  its  name  from  this  great  street,  which  was 
commonly  called  the  "  Via."  S.  Maria  was  parochial 
until  1452,  and  in  1549  was  almost  entirely  rebuilt. 
It  contains  a  chapel  of  the  old  Bufalo  family,  and  in  the 
middle  ages  many  noble  Roman  families  were  buried 
within  it. 

S.  MABIA  IN  VIA  LATA  in  the  Corso,  and  beside  the 
palace  of  the  Pamfili-Doria,  takes  its  name  from  the 
ancient  Roman  street  upon  which  it  is  built.  The 
origin  of  this  church  is  uncertain,  and  tradition  asserts 
that  it  stands  upon  the  site  of  the  house  where  S.  Paul 
lived  while  in  Rome,  and  where  he  wrote  the  Epistle 
to  the  Hebrews.*  In  support  of  this  tradition,  por- 
tions of  Roman  masonry  of  the  first  centuries  have 
been  found  beneath  the  church  at  the  original  level  of 
the  Via  Lata,  and  these  were  used  to  form  a  Christian 
oratory,!  at  least  as  early  as  the  viii.  century.  Upon 
the  walls  of  this  ancient  oratory,  which  is  now  sub- 
terranean, can  still  be  seen  faint  traces  of  painting  : 
some  angels,  and  a  saint  wearing  a  nimbus. 

The  Church  of  S.  Maria  is  mentioned  under  Leo  III. 

*  It  is  said  by  Martinelli  and  others  to  have  been  the  first 
church  founded  by  S.  Peter  in  Rome. 
t  See  S.  Paul,  p.  121. 


298       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

(795)  and  Benedict  III.  (855).  It  is  said  to  have 
,  been  first  built  by  Pope  Sylvester,  and  was  certainly 
restored  by  Sergius  I.  in  700,  and  by  Innocent  VIII. 
(1484).  The  tribune  was  added  by  Urban  VIII.,  and 
the  church  was  again  restored  by  Alexander  VII.  in 
1662,  when  the  nave  pillars  were  cased  with  Sicilian 
jasper,  and  a  new  fa9ade  was  erected  from  Pietro 
da  Cortona's  designs.  The  interior  however,  retains 
its  basilica  form.  Over  the  high  altar  is  an  ancient 
painting  of  the  Madonna,  which  is  much  venerated  by 
the  people.  The  chapel  at  the  end  of  the  left  aisle  is 
dedicated  to  S.  Ciriaca  and  S.  Nicholas,  and  contains 
many  relics  placed  here  by  Leo  IX.  in  the  xi.  century. 
The  church  was  at  one  time  possessed  by  the  nuns  of 
S.  Ciriaca  from  the  adjoining  convent.  Nicholas  V. 
attached  to  it  a  chapter  of  9  canons.  It  is  parochial, 
and  gives  its  title  to  a  cardinal. 

8.  MABIA  DELIA  VITTORIA  stands  upon  the  site  of  an 
ancient  church  dedicated  to  S.  Paul,  and  beside  which 
was  a  little  building  which  served  as  a  refuge  for  the 
street  sellers  in  bad  weather,  at  a  time  when  this  region 
was  all  waste  land.*  This  church  was  destroyed  by 
Paul  V.  (1605)  and  replaced  by  another,  also  dedicated 
to. the  apostle,  and  a  monastery  for  Carmelite  monks 
was  established  beside  it.  Shortly  after  an  image  of 
the  Madonna  was  brought  to  it  from  Germany,  after 
the  victories  of  Maximilian  Duke  of  Bavaria.  From 
this  time  the  church  was  called  S.  Maria  della  Vittoria. 
It  was  newly  decorated  with  rich  marbles  and  stucco 
at  the  expense  of  Prince  Torlonia,  and  from  designs  of 
Chapels.  Maderno.  The  fa9ade  was  added  by  the  architect 
Soria.  In  the  second  chapel  on  the  right  is  a  painting 
of  the  Madonna  and  S.  Francis,  and  some  frescoes  by 
Domenichino.  Beyond,  in  the  left  transept,  is  a  statue 
of  S.  Theresa  in  ecstasy  by  Bernini.  In  the  third 
chapel  on  the  left  a  Trinity  by  Guercino,  and  a  copy 
of  Guido's  Crucifixion,  now  in  the  possession  of  the 
Duke  of  Northumberland. 

*  Bruzio,  Theatnim  Romano'  Urbis,  vii. 


THE  CHURCHES  IN  ROME  299 

In  digging  the  foundations  of  this  church,  the  Her- 
maphrodite now  in  the  Louvre  was  found.  The 
original  image  of  the  Madonna  brought  from  Germany 
was  destroyed  by  fire  in  1833,  and  has  been  replaced 
by  the  present  one.  A  part  of  the  adjoining  convent 
is  now  an  agricultural  college. 

8.  MABIA  EGIZIACA.— This  beautiful  little  building 
near  the  Ponte  Rotto  is  an  ancient  temple  said  to 
have  been  dedicated  to  Fortuna  Virilis,  and  which  was 
converted  into  a  church  in  872  under  Pope  John  VIII. 
It  was  originally  built  by  Servius  Tullius,  was 
destroyed  by  fire,  and  again  rebuilt  during  the  Re- 
publican period.  It  is  of  tufa  and  travertine,  overlaid 
with  stucco,  and  the  ground  around  it  has  now  been 
reduced  to  the  original  level,  laying  bare  the  base  of 
travertine  upon  which  it  stands.  The  columns  of  the 
portico  now  walled  in,  were  originally  free.  The 
columns  of  the  sides,  of  the  Ionic  order,  support  an 
entablature  decorated  with  heads  of  oxen,  festoons, 
and  figures  of  children,  now  scarcely  visible. 

The  church  was  conferred  upon  the  Armenian  nation 
by  Pius  V.  in  1571,  and  was  restored  by  Clement  XI. 
(1700),  with  the  annexed  hospice  for  Armenian 
pilgrims.  The  Armenians  have  been  removed  to 
S.  Biagio  in  Via  Giulia,  and  the  church  of  S.  Maria 
Egiziaca,  which  had  received  this  title  from  them,  is 
now  under  the  care  of  a  confraternity. 

Over  the  high  altar  is  a  picture  of  the  titular  saint 
by  Federico  Zucchero.  To  the  left  on  entering  is  a 
model  of  the  Chapel  of  the  Sepulchre  at  Jerusalem. 
This  church  is  not  open  except  on  Sunday  morning 
between  10.30  and  11.30.  The  feast  day  is  kept  on 
April  8. 

MAET  OP  EOYPT.-The  legend  concerning  this  saint  is 
much  more  ancient  than  that  about  Mary  Magdalene. 
It  was  current  and  committed  to  writing  in  the  vi.  cen- 
tury. The  story  that  a  female  anchorite  named  Mary, 
lived  and  died  near  the  river  Jordan,  and  there  be- 


300       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

wailed  her  sins  in  solitude  for  many  years,  and  was 
accidentally  discovered,  rests  on  ancient  tradition  and 
is  supported  by  contemporary  evidence.  In  its  present 
form  the  legend  is  attributed  to  Jerome.'''  "  Towards 
the  year  of  our  Lord  365,"  we  are  told,  there  dwelt  in 
Alexandria  a  beautiful  woman  of  evil  life.  When  she 
retired  to  the  desert  she  was  supported  for  47  years 
upon  3  small  loaves,  which  were  miraculously  provided 
each  day.  She  was  discovered  by  a  priest  called 
Zosimus.  She  is  represented  in  art  wasted,  aged  and 
meagre,  in  her  hand  3  loaves.  She  can  be  distin- 
guished from  Mary  Magdalene,  who  is  represented 
young,  and  with  a  skull  or  crucifix  in  her  hand.  In 
representations  of  the  death  of  Mary  of  Egypt,  a  lion 
is  introduced,  which  according  to  the  legend,  helped 
Zosimus  to  bury  her.  She  is  a  favourite  saint  with 
the  French. 

8.  MARTINA. — The  original  church  of  S.  Martina  in 
the  Forum,  was  built  some  time  in  the  vi.  century, 
upon  the  ruins  of  a  Roman  edifice,  which  from  at  least 
the  previous  "century  was  known  as  the  Secretarmm 
Senatus. 

Under  Leo  III.  (795)  the  church  is  called  "  in  tribus 
foris."f  It  was  restored  by  Adrian  I.,  and  rebuilt  by 
Alexander  IV.  in  1255,  who  made  it  a  parish  and  a 
chapteral  church.  A  long  inscription  records  his  work. 
In  1588  Sixtus  V.  granted  it  to  the  Guild  of  Artists.  :J 
Under  Urban  VIII.  the  tomb  of  S.  Martina  was  dis- 
covered in  the  older  building  which  had  then  become 
subterranean,  and  this  induced  him  to  rebuild  the  church 
once  more,  from  the  designs  of  Pietro  da  Cortona.  The 
lower  basilica,  which  stands  at  the  level  of  the  Forum 
still  exists,  and  contains  a  fine  bronze  altar  beneath 
which  lies  the  body  of  the  saint.  Here  also  is  a  chapel 
erected  by  Pietro  da  Cortona  at  his  own  expense,  and 

*  Mrs.  Jameson.  "  Sacred  and  Legendary  Art." 
t  See  p.  162. 

i  Hence  the  church  is  also  called  of  S.  Luca,  and  a  feast  is 
kept  here  on  October  18.     See  p.  190. 


THE  CHURCHES  IN  ROME  301 

here  is  still  preserved  an  absurd  inscription,  dating 
probably  from  the  restorations  of  Urban  VIII.,  stating 
that  one  Gaudentius  a  Christian,  was  the  architect  of 
the  Colosseum.  In  the  upper  church  in  the  left  tran- 
sept, is  the  first  model  of  Thorwaldsen's  statue  of 
Christ,  and  a  painting  of  the  Assumption  by  Conca. 
Opposite  is  a  figure  of  Religion  by  Canova ;  there  is 
a  statue  of  S.  Martina  under  the  high  altar,  by  Guerini. 
The  celebrated  Procession  of  the  "  Candelora  "  upon 
the  day  of  the  Purification  used  to  start  from  this 
church,  for  which  see  Part  II. 

Feast  day. — January  30,  when  the  lower  church  is  illuminated 
(until  the  time  of  Urban  VIII.,  her  ancient  feast,  January  i,  was 
kept). 

The  life  of  mabtina,  a  Roman,  and  a  martyr  early 
in  the  in.  century,  while  Urban  I.  was  pope,  and 
Alexander  Severus  emperor,  is  one  of  the  most  in- 
teresting in  the  Roman  martyrology.  Martina  was  of 
illustrious  birth  ;  her  beautiful  early  Hfe  is  told  in  her 
"  Acts,"  her  contempt  of  worldly  greatness  and  her 
great  charity.  She  was  titular  deaconess  of  the  church, 
where  now  rises  the  present  building  called  after  her, 
and  made  many  conversions  by  her  preaching.  Scorn- 
ing the  command  to  sacrifice  to  idols,  she  was  so 
barbarously  tortured  that  the  mere  description  is  im- 
possible. Finally  she  was  thrown  to  the  beasts  in  the 
amphitheatre,  who  would  not  touch  her,  then  cast  on 
a  burning  wheel,  and  afterwards  decapitated.  The 
Roman  legend  has  no  images  forcible  enough  for  the 
miraculous  sense  of  power  she  expressed  in  enduring 
these  torments,  and  the  wonderful  effect  on  the  mind 
and  conscience  of  the  beholders.  At  her  prayers,  it 
tells  us,  earthquakes  were  produced,  fire  fell  from 
heaven,  the  temples  fell,  the  idols  were  broken.  As 
her  blood  flowed  like  a  lake  round  her,  her  beauty  was 
marvellous  to  look  upon,  and  a  wonderful  perfume  ex- 
haled from  her ;  and  she  was  seen  in  holy  converse 
with  the  blessed  singing  the  Divine  praises.  At  last 
when   she   was  beheaded,  a  voice  from  heaven  was 


302       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

heard  calling  her,  the  whole  city  trembled,  and  many 
idolaters  were  converted  to  Christ. 

How  many  memories  attach  to  that  spot,  ^'pervetusta 
ejusdem  ecclesia,"  "  by  Peter's  prison,  at  the  declivity  of 
the  Capitol,"  where  in  what  is  said  to  be  the  most 
magnificent  of  the  churches  within  the  city  dedicated 
to  a  martyr.  Urban  VIII,  replaced  Martina's  body, 
"  with  great  concourse  of  the  people "  and  "  the 
rejoicing  of  the  whole  city." 

Martina,  who  was  anciently  called  protectrix  of 
Rome,  has  a  special  hymn  marked  for  her  oflfice  in  the 
Breviary  :  Martinie  celebri  plandite  nomini :  Gives  Romulei, 
plaudite  gloria :  Insignem  mentis  dicite  Virginem  :  Christi 
dicite  martyrem.'^- 

S.  HABTINO  AI  MONTI,  or  "in  Thermis,"  is  an  in- 
teresting church  upon  the  slope  of  the  Esquiline,  built 
in  the  first  years  of  the  "  Peace  "  upon  the  ruins  of 
the  Baths  of  Trajan.  It  was  then  known  as  Titulus 
Equitii,  from  the  name  of  the  owner  of  the  land  upon 
which  it  stood.  Later,  the  name  Titulus  S.  Silvestri 
was  substituted  for  the  more  primitive  appellation,  its 
foundation  being  attributed  to  this  pope,  and  in  324  a 
synod  was  convened  by  him  in  this  church.  The 
original  building,  of  which  fine  portions  still  remain, 
was  built  at  the  level  of  the  baths,  much  lower  there- 
fore, than  the  present  edifice.  In  the  v.  century  a 
second  church  was  built  above  by  Pope  Symmachus, 
which  he  dedicated  to  S.  Martin  of  Tours  and  S.  Syl- 
vester, and  to  this  were  removed  the  decorations  of 
the  older  building.  As  time  went  on,  this  latter  became 
subterranean,  and  was  hidden  and  forgotten  until  once 

*  Renan,  writing  of  the  early  persecutions,  says  "  The  horrible 
tortures  of  the  Roman  law  were  applied  in  all  their  rigour."  The 
Christian  regarded  as  humilior  and  even  as  infamous,  was  punished 
by  the  cross,  beasts,  fire,  stripes.  "  The  distinction  between  the 
simple  fact  of  being  a  Christian,  and  the  crimes  connected  with 
it,  was  forgotten."  Christianus  sum,  "  I  am  a  Christian,'/  was  a 
signal  which  might  bring  with  it  death.  "  Dans  I'application  de 
la  question,  les  juges  portaient  un  complet  arbitraire  et  parfois 
une  veritable  perversion  d'idees  "  ("  Marc-Aurile  "). 


THE  CHURCHES  IN  ROME  303 

more  discovered  in  the  xvii.  century  by  Antonio  Filip- 
pini,  the  general  of  the  CarmeHtes  of  the  adjoining 
convent.     The  church  of  Symmachus  was  decorated 
with  frescoes  under  Leo  IV.  (847-855),  who  also  covered 
the  tribune  with  mosaics,  and  this  pope  gave  the  church 
and  convent  to  the  Benedictines.     In  the  xiii.  century 
it  was  restored  by  Innocent  III.,  but  up  to  the  xvi. 
century  its  primitive  type  was  preserved,  and  it  still 
contained  two  marble  ambones,  with  the  inscription :        ^ 
"  Salvo  Domhto   nostra   heatissimo   Sergio  papa    ivniore," 
the  use  of  the  word  salvo  showing  that  the  work  was 
undertaken  during  the  lifetime  of  Pope  Sergius  (687- 
701).     Another   inscription   of  the    same   epoch,  and 
formerly  in  the  apse,  is  still  preserved  in  the  lower 
church.       In  the  xiii.   century  the  church  passed  to 
the  Carmelite  order.     Under  Pius  IV.  it  was  again 
restored,  and  a  new  roof  added  by  Carlo  Borromeo. 
The  fa9ade  was  built  in  1676,  and  the  titular  cardinal 
of  the  time  undertook  more  restoration  in  1780.     The  Interior. 
24  ancient  pillars  of  the  nave  still  remain.     The  High  High 
Altar  is  decorated  with  rich  marbles,  and  beneath  two  Altar, 
flights  of  steps  lead  to  the  confession,  where  are  pre- 
served relics  of  Pope  Sylvester  and  S.  Martin.     Upon 
the  walls  of  the  aisles  are  a  series  of  6  frescoes  by  Aisles. 
Grimaldi  of  Bologna,  and  Gaspar  and  Nicholas  Poussin. 
In  the  left  aisle  2  frescoes  represent  the  interior  of  old 
S.  Peter's  and  of  the  Lateran.  The  subterranean  church 
is  reached  from  the  confession.     It  has  a  fine  mosaic  Lower 
pavement  of  black  and  white  marble,  and  traces  of  Church, 
paintings  still  exist  upon  the  walls.     In  the  middle 
ages  the  pavement  of  the  church  was  restored  with 
slabs  of  stone  taken  from  the  catacombs.     Some  of 
these  still  remain  ;  others,  among  them  3  pieces  of  a 
Damasian  inscription,  in  which  the  name  of  Filocalus 
appears,  are  now  preserved  in  the  Lateran  Museum. 

Sixtus  IV.  (1471-1484)  established  2  Stations  in 
this  basilica  :  one  on  the  feast  day  of  S.  Sylvester,  and 
on  that  of  S.  Martin,  December  31  and  November  11. 
The  church  has  again  been  undergoing  restorations  to 


304       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

its  roof,  and  the  houses  around  it  have  been  cleared 
away  to  make  a  new  thoroughfare. 

It  is  open  for  the  Station  on  the  5th  Thursday  in  Lent. 

For  S.  Martin,  see  Part  III.  of  this  Handbook. 

SS.  NEBEO  E  ACHILLEO. — This  beautiful  little  church 
on  the  present  Via  di  S.  Sebastiano  near  the  baths  of 
Caracalla,  is  one  of  the  best  preserved  of  the  smaller 
Roman  basilicas.  This  we  owe  in  great  measure  to 
Cardinal  Baronius  the  historian,  who  while  its  titular, 
restored  it  himself  after  the  ancient  plan,  and  left  an 
inscription  imploring  his  successors,  "  for  the  glory  of 
God  "  and  "  the  merits  of  these  martyrs,"  not  to  re- 
move anything  from  it,  or  to  alter  it  in  any  way  : 

Presbyter  card,  successor  quisquis  fueris 

Rogo  te  per  gloriam  Dei  et 

Per  merita  horum  martyrum 

Nihil  demito  nihil  minuito  nee  mutato 

Restitutam  antiquitatem  pie  servato. 

This  inscription  is  to  the  right  of  the  episcopal  chair 
in  the  apse.* 

"  Vous  serez  emu  par  la  simplicite,  par  I'elegance, 
par  I'austfere  et  mystique  beaute  de  cette  architecture," 
writes  Batiffol  of  this  basilica.  Its  origin  has  been 
attributed  to  Leo  III.  (795-816),  but  it  is  in  reality  con- 
siderably older  than  this.  Under  its  primitive  name 
of  Titulus  Fasciola,  we  find  it  mentioned  in  499,  when 
its  priest  subscribed  to  the  synod  of  Symmachus, 
summoned  in  that  year.  Earlier,  Leo  I.  confided  to 
its  priest  and  deacon  some  repairs  of  the  basilica  on 
the  Via  Ostia  (S.  Paolo),  and  De  Rossi  has  also  dis- 
covered in  this  same  basilica  an  epitaph  to  a  lector 
tituli  Fasciolce  who  died  in  337.!  The  passage  in  the 
Liber  PontificaHs  which  had  led  to  the  view  that 
Leo  III.  was  the  founder  of  this  basilica  referred  in 
reality  to  another  basilica  built  over  the  catacomb 
upon  the  Via  Ardeatina,  the  ruins  of  which  have  only 
lately  been  discovered,  and  which  was  therefore  quite 

*  To  the  spectator's  left  is  a  list  of  the  relics  preserved  in  this 
church. 

t  De  Rossi,  Inscr.  Christ.,  i.  831. 


THE  CHURCHES  IN  ROME  305 

unknown  to  early  writers  on  the  subject.     (See  Cata- 
comb of  Domitilla,  Chapter  X.) 

The  name  fasciola  seems  to  have  been  due  to  a  tradi- 
tion that  upon  the  Via  Ntiova  (the  present  Via  di  S. 
Sebastiano)  a  bandage  (fascia)  fell  from  S.  Peter's 
wounded  foot  as  he  fled  from  the  Mamertine  prisons. 
The  bandage  was  found  and  kept  by  a  pious  matron, 
who  afterwards  erected  the  basilica  upon  the  site. 
This  is  told  in  the  "  Acts  "  of  SS.  Processus  and  Mar- 
tinianus,  which  are  of  the  v.  century.  It  is  not 
known  at  what  period  the  ancient  "  Titulus  Fasciolae  " 
was  called  SS.  Nereo  e  Achilleo.  The  remains  of 
these  saints,  removed  from  the  catacomb  on  the  Ardea- 
tina,  were  kept  first  in  the  basilica  of  S.  Adriano,  but 
there  is  no  doubt  that  some  local  memory  attached  to 
them  on  the  Via  Nuova,  where  they  were  venerated 
as  early  as  the  vi.  century.  In  the  xii.  century  the 
titidus  Fasciola  was  one  of  the  most  important  in  Rome. 
Later,  it  fell  into  a  ruinous  condition,  and  was  restored 
by  Sixtus  IV.  (1471).  It  was  repaired  once  again  by 
Cardinal  Baronius  and  given  to  the  Oratorians,  who 
still  possess  it. 

The  basilica  has  a  nave  and  two  aisles  separated  by  Interior. 
8-sided  pilasters.  The  ancie'nt  cosmatesque  pavement 
still  exists  in  the  presbytery.  The  choir  also  remains 
enclosed  with  a  marble  balustrade,  and  flanked  by 
the  two  ambones.  It  does  not  here  extend  beyond 
the  presbytery,  it  is  entered  by  a  double  flight  of 
steps.  The  ambones,  balustrade  and  confession  are 
decorated  with  cosmatesque  mosaic  and  marble  carving. 
This  last  is  not  now  accessible  in  the  usual  way. 
The  canopy  of  the  high  altar  stands  upon  four  pillars  of 
African  marble,  beneath  lie  the  relics  of  the  two  titular 
saints  ;  a  marble  candelabrum  stands  before  the  altar. 
The  mosaics  of  the  apse  have  unfortunately  perished  ; 
those  upon  the  face  of  the  arch  are  of  the  time  of 
Leo  III.  (795-816).  They  represent  the  Transfigura- 
tion ;  the  Redeemer  in  a  white  tunic  stands  between 
Moses  and  Elias  ;  three  disciples,  with  the  initials  of 


3o6       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

their  names  beside  them,  are  prostrate  at  His  feet, 
hiding  their  faces  beneath  their  mantles.  On  either  side 
are  :  the  Annunciation  (to  the  left),  and  the  Madonna 
enthroned,  attended  by  an  angel.  The  episcopal  chair 
is  of  great  interest,  being  that  from  which  S.  Gregory 
read  his  28th  Homily  on  the  Gospels.  The  homily 
itself  is  inscribed  here,  and  an  ugly  modem  fresco 
above,  represents  the  scene.  The  aisles  are  decorated 
with  frescoes  df  the  martyrdoms  of  the  apostles. 

The  church  is  rarely  open. 

Feast  day. — May  12. 

The  Station  is  on  the  4th  Wednesday  in  Lent. 

For  the  two  saints,  see  p.  518. 

S.  NICCOLb  IN  CABCEBE. — This  ancient  diaconal  church 
is  built  upon  the  ruins  of  two  Roman  temples ;  that  of 
Piety,  which  stood  in  the  Forum  Olitorium,  now  Piazza 
Montanara,  and  another  said  to  be  that  of  Hope,  or  of 
Juno  Matuta.  A  wall  composed  of  slabs  oi  peperino,  be- 
longing to  these  temples,  may  still  be  seen  forming 
the  left  side  of  the  church.  Two  of  the  columns  are 
walled  up  in  the  fa9ade,  and  beneath  the  church  are 
fine  substructions  of  peperino.  In  the  middle  ages 
these  vaults  were  supposed  to  be  part  of  the  prisons 
of  Tullius,  and  we  find  the  church  called  "in  Carcere 
Tulliano."*  It  seems  possible  that  a  prison  of  some 
sort  did  exist  in  the  vicinity,  and  that  this  is  alluded 
to  in  the  Liber  Pontificalis  of  Adrian  I. 

FeUx  IV.  (526)  and  Boniface  IV.  (608)  both  restored 
or  rebuilt  the  basihca  of  S.  Niccolo.  Nicholas  III. 
(1277),  who  was  its  titular  cardinal  before  his  election 
to  the  papacy,  undertook  further  restorations.  Finally, 
in  1599,  its  style  was  altered  to  suit  modern  tastes  by 
Giacomo  della  Porta,  and  in  this  century  it  has  once 
more  been  gorgeously  decorated.  Fortunately  the 
ancient  pillars  of  the  nave  have  been  retained.  Under 
the  modern  canopy  of  the  high  altar  is  a  fine  green 
basalt  urn,  containing  the  rehcs  of  SS.  MarcelHnus, 
Beatrice,  and  Faustinus.    The  confession  beneath  was 

•  An  inscription  of  1240  is  as  follows :  "James,  Cardinal  Deacon, 
of  S.  Niccolo  in  Carcere  TuUiano." 


THE  CHURCHES  IN  ROME  307 

originally  decorated  with  frescoes,  all  of  which  have 
perished.  Two  Christian  inscriptions  of  interest  are 
still  preserved  in  the  confession,  one  of  which  was  cut 
upon  the  base  of  an  ancient  altar  :  "  Pax  tecum  Felix.'' 
Other  inscriptions,  of  gifts  made  to  the  church  in  1088 
and  in  the  ix.  century,  are  attached  to  the  right  wall 
and  to  the  first  pillar.  Some  xiii.  century  sepulchral 
slabs  have  also  been  retained.  S.  Niccolo  has  had  a 
chapter  of  canons  since  the  ix.  or  x.  century.  It  is 
also  a  parish  church.  It  is  open  for  the  Station  on 
the  5th  Saturday  in  Lent. 

Feast  day. — December  6. 

8.  HicHOLAB  OF  BAsi  was  Bishop  of  Myra,  and  died 
in  326.  He  is  the  chief  patron  of  Russia,  and  is  a 
saint  of  the  people  and  of  mariners.  He  was  held  in 
great  reverence  in  the  East  as  early  as  the  vi.  century, 
but  was  little  known  in  the  West  before  the  x.  He 
was  born  in  Asia  Minor  of  illustrious  Christian  parents, 
whose  wealth  he  inherited  at  an  early  age.  As  a  child 
he  was  remarkable  among  other  children  for  his  gravity 
and  sanctity.  Later  he  was  ordained  a  priest,  and 
became  Bishop  of  Myra.  Innumerable  stories  are  told 
of  S.  Nicholas,  who  was  beloved  by  all,  for  his  virtues 
and  his  boundless  charity.  One  of  the  best  known  is 
that  of  his  charity  to  a  father  reduced  to  such  desperate 
poverty  that  no  way  seemed  possible  to  save  his  three 
daughters  from  starving  except  their  sacrifice  to  an 
infamous  life.  S.  Nicholas  hearing  of  this,  secretly 
threw  in  a  purse  of  gold  at  the  man's  open  window 
for  three  successive  nights.  Nicholas  dying  in  326, 
was  buried  in  Myra,  but  in  1084  his  body  was  stolen 
by  some  Italian  mariners  and  carried  to  Bari,  where 
a  magnificent  church  was  built  in  his  honour  by 
Urban  II.  In  art  Nicholas  is  represented  as  a  bishop 
in  magnificent  robes  and  jewelled  mitre.  He  wears  a 
short  gray  beard,  and  carries  three  balls  to  represent 
the  three  purses  of  gold. 

8.  NICCOLO  DA  TOLENTIKO,  in  the  street  of  the  same 
name,  is  now  the  church  of  the  Armenian  College.     It 

20 — 2 


368       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Portico. 


Interior. 


Chapels 
right. 


was  built  about  1599  by  a  reformed  order  of  Augus- 
tinian  Hermits,  which  moved  there  from  S.  Stefano 
Rotondo.  The  church  was  restored  from  designs  of 
the  Milanese  Buzio  in  1614,  Prince  Pamfili  contri- 
buting the  funds.  It  contains  some  of  the  last  work 
of  Pietro  da  Cortona,  who  decorated  the  Gavotta  chapel, 
the  third  on  the  left,  dedicated  to  the  Madonna  of 
Savona,  and  painted  the  frescoes  of  the  vault.  The 
high  altar  is  the  work  of  Algardi. 

Feast  day. — September  10. 

8.  NICHOLAS  or  TOLENTiNo  was  bom  near  Fermo,  about 
1239,  and  died  in  1309.  He  lived  in  Tolentino,  as 
an  Augustinian  friar,  fervent,  eloquent,  unwearied, 
noted  for  his  visions.  He  never  tasted  animal  food, 
and  a  pretty  legend  tells  that  a  dish  of  doves  being 
brought  to  him  in  his  last  illness,  he  reproved  his 
followers,  rose  painfully,  stretched  his  hands  over  the 
doves,  and  they  flew  away !  In  art,  S.  Nicholas  ap- 
pears in  a  black  habit,  with  a  star  on  his  breast,  or 
holding  a  gospel,  or  crucifix  and  lily  intertwined. 

8.  ONOFBIO,  on  the  Janiculum,  was  founded  about 
1434  by  one  Niccolo  da  Forca  Palena,  a  hermit  of 
S.  Jerome,  and  friend  of  the  founder  of  the  order.  He 
was  assisted  with  funds  by  Eugenius  IV.  and  the 
Roman  family  of  the  De  Cupis.  A  small  convent  was 
attached  to  the  church  for  himself  and  his  companions. 
The  church  was  declared  a  diaconate  by  Leo  X.,  and 
Sixtus  V.  made  a  more  convenient  road  up  to  it,  still 
called  "  la  Salita  di  S.  Onofrio." 

The  church  is  preceded  by  a  picturesque  portico, 
under  which  are  lunettes  painted  by  Domenichino, 
with  scenes  in  the  life  of  S.  Jerome,  which  have 
unfortunately,  suffered  much  from  damp.  At  one  end 
is  the  small  chapel  del  Rosario,  now  closed,  containing 
a  picture  by  Bassano,  and  the  tomb  of  the  founder  of 
the  order,  Pietro  Gambacorta  of  Pisa.  The  church 
consists  of  a  single  nave,  with  two  chapels  on  either 
side.  Immediately  to  the  right  is  a  larger  chapel, 
dedicated  to  S.  Onofrio  and  to  Blessed  Niccolo  the 


THE  CHURCHES  IN  ROME  309 

founder  of  the  order,  which  is  decorated  by  paintings 
of  an  old  school.  The  next  chapel,  of  the  Madonna  of 
Loreto,  contains  an  altar-piece  by  Caracci.  The  tribune 
behind  the  high  altar  is  decorated  with  two  sets  of 
frescoes,  the  lower  ones  from  the  cornice  downwards, 
by  Baldassare  Peruzzi ;  those  above  by  Pinturicchio,  all 
much  spoiled  by  retouching.  The  lower  represent  the 
Virgin  and  Child  between  four  saints,  S.  Onofrio  and 
S.  Jerome,  S.  Mary  Magdalene,  and  the  founder  of  the 
church  Niccolo.  On  either  side  are  represented  the 
Nativity  and  the  Flight  into  Egypt.  Above  this  is 
the  Coronation,  with  attendant  saints,  the  Sibyls  in 
four  lunettes,  and  above  again,  five  lunettes  of  angels. 

On  the  right  of  the  high  altar  is  the  n^onument  to 
Cardinal  Sacco,  ob.  1505,  and  a  lunette  of  S.  Anna  and 
the  Virgin  by  Pinturicchio.  .In  the  left  aisle  is  a  Left  aisle, 
memorial  slab  to  Cardinal  Mezzafante,  and  the  tomb 
of  Blessed  Niccolo.  In  the  first  chapel  on  this  side, 
dedicated  to  S.  Jerome,  the  modern  monument  to 
Tasso  has  been  erected  by  Pius  IX.,  who  removed  the 
remains  of  the  poet  here  from  the  entrance. 

The  adjoining  monastery  and  cloisters  have  been 
partly  destroyed  to  make  room  for  the  new  drive  across 
the  Janiculum,  and  only  three  or  four  monks  are 
allowed  by  the  Italian  Government  to  remain  as  cus- 
todians of  the  church.  In  part  of  the  cloisters  can  still 
be  seen  frescoes  of  the  life  of  S.  Onofrio,  painted  by 
Cav.  d'  Arpino.  In  an  upper  gallery  is  a  beautiful 
lunette  of  the  Madonna  and  Child,  with  the  kneeling 
figure  of  the  donor,  by  Leonardo  da  Vinci.  The  room 
inhabited  by  Tasso,  and  where  he  died,  is  still  pre- 
served, with  some  manuscripts  and  some  of  his  pos- 
sessions, and  a  mask  taken  of  his  face.  In  the  old 
convent  garden,  now  part  of  the  new  drive,  the  remains 
of  Tasso's  oak  under  which  he  used  to  sit  and  meditate, 
still  stand.  This  was  one  of  the  favourite  haunts  of 
S.  Philip  Neri  and  his  youths,  and  here  the  Academy 
of  "  Arcadia "  used  to  hold  its  summer  meetings. 
There  is  no  place  in  all  Rome  where  such  a  beautiful 


3IO       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

view  of  the  city,  with  the  Sabine  and  Alban  mountains 
behind  it,  can  be  obtained. 

Feast  day. — June  12. 

B.  oNOFEio  (HONTTFHBiuB)  was  a  monk  of  Thebes,  who 
for  60  years  lived  in  a  cave,  seeing  no  one,  speak- 
ing no  word,  and  clad  in  a  garment  of  leaves.  Here 
he  was  found  by  another  holy  man,  who  was  with  him 
when  he  died,  and  after  his  death  buried  the  body  and 
carried  the  fame  of  the  sanctity  of  S.  Onofrio  to  the 
towns.  S.  Onofrio  is  often  the  patron  of  convents. 
In  art  he  appears  as  an  old  man,  with  long  hair  and 
wearing  a  garment  of  leaves. 

s.  FANCBAZIO,  near  the  Villa  Pamfili  and  outside 
Porta  S.  Pancrazio,  is  generally  attributed  to  Pope 
Symmachus  (498-514),  but  it  is  more  probable  that  he 
rebuilt  or  restored  a  basilica  already  existing  upon  the 
spot,  over  the  catacombs  of  Octa villa  and  Calepodius. 
In  the  VII.  century  it  was  again  restored  by  Honorius  I., 
who  removed  to  its  altar  the  bodies  of  the  martyrs 
from  the  cemetery  beneath.  Inscriptions  of  this  epoch 
referring  to  the  church  have  been  preserved  in  the 
Lateran  museum.  It  was  at  this  date  administered 
by  the  priests  of  S.  Crisogono. 

Adrian  I.  again  made  additions  to  the  basilica,  and 
built  the  adjoining  monastery  which  was  dedicated  to 
S.  Victor.  In  the  x.  century  Crescentius  the  great 
ruler  of  Rome,  was  murdered  near  this  church  and 
was  buried  within  it,  though  his  epitaph  no  longer 
exists.  Here  in  1205  Peter  of  Aragon  took  his 
vows  of  allegiance  to  Innocent  III.  Unfortunately, 
this  interesting  basilica  suffered  severely  in  1849  when 
fighting  took  place  all  round  it,  and  it  was  greatly 
damaged  by  fire  and  shot.  A  single  column  of  the 
nave,  a  few  pieces  of  the  mosaic  decorations  of  the 
ambones  of  the  xi.  century,  and  some  fragments  of 
inscriptions  from  the  catacombs  among  the  pavement 
slabs,  are  all  that  remain  of  the  ancient  church,  which 
has  been  rebuilt  in  the  worst  style.  In  1798  the  relics 
of  the  martyr  S.  Pancratius  were  removed  from  their 


THE  CHURCHES  IN  ROME  311 

shrine  under  the  high  altar.     Two  flights  of  steps  lead 
from  the  church  to  the  catacombs  beneath. 

Feast  day. — May  12. 
The  Station  is  on  Low  Sunday. 

For  catacomb  of  Octavilla,  and  account  of  S.  Pancrazio,  see 
Chapter  X. 

THE  PANTHEON,  S.  MAEIA  AD  MAETYEES.— We  owe  the 

preservation  of  this  beautiful  building  to  its  consecra- 
tion as  a  church  by  Boniface  IV.  in  May  604-610,    It 
was  then  dedicated  to  the  Blessed  Virgin  and  all  the 
martyrs,  and  it  is  said  that  28  waggon-loads  of  bones 
from  the  catacombs  were  placed  beneath  the  altar. 
Here  was  celebrated  the  first  feast  day  of  the  Virgin 
upon  the  octave  of  Christmas,  the  Station  being  still  held 
on  January  i,  the  ancient  Roman  feast  of  the  Madonna. 
The  history  and  origin  of  the  Pantheon  is  still  a 
matter  of  controversy.     It  stood  amidst  a  magnificent 
group  of  marble  buildings  all  of  which  have  perished — 
the  baths  of  Agrippa,  the  stadium  of  Domitian,  the 
theatre  of  Pompey,  the  temple  of  Minerva,  and  was 
long  held  to  be  the  calidarium  of  the  baths.      It  is 
now  evident  that  this  was  not  the  case.    The  Pantheon 
was  built  about  the  year  25,  some  7  years  before  the 
opening   of  the   baths   and   the  laying  of   the  water 
conduits,  and  appears  to  have  been  an  independent 
building,  designed  for  a  temple  from  its  origin.     It  was 
dedicated  to  Mars,  Venus,  and  the  deified  Caesars,  and 
not  to  Cybele,  as  is  often  asserted.     In  the  niches  of 
its  interior  stood  statues  of  the  gods.     These  niches 
were  utilized  by  Michael  Angelo  in  the  xvi.  century, 
who   designed  upon   them  a  type  of  Christian  altar 
adopted  throughout  Rome.     The  portico  was  added 
by  Agrippa  some  years  after  the  construction  of  the 
main  building,  and  w-ithin  it  stood  figures  of  himself 
and  of  Augustus.     In  a.d.  59  we  learn  that  the  Fratres 
Arvales  assembled  in   the  Pantheon  for  their  solemn 
sacrifice  to  Dia,  and  in  their  tables  it  is  first  called  by 
the  name  Pantheon. 

Scarcely  more  than  the  husk  remains  to  us  of  this 


312       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

beautiful  monument  of  old  Rome.  Pillage  by  her 
invaders  and  the  rapacity  of  her  rulers  have  left  us 
nothing  but  the  bare  walls.  The  white  marble  coating 
of  the  exterior  is  gone.  Already  in  the  vii.  century 
the  bronze  ceiling  of  the  portico  had  been  stripped  off  for 
the  silver  which  decorated  it  ;  and  under  Urban  VIII. 
the  baldacchino  of  S.  Peter's  and  80  pieces  of  cannon 
were  cast  from  the  bronze  beams  and  tiles  of  the  roof. 
This  same  pope  restored  some  of  the  pillars  of  the 
portico,  and  added  two  absurd  steeples,  thenceforth 
called  asses'  ears.  These  are  now  removed.  The 
transformation  was  made  complete  in  1747,  when 
Paolo  Posi  the  architect,  took  away  all  the  marble 
decorations  from  the  interior.  A  legend  of  the  middle 
ages  asserts  that  the  dome  of  the  Pantheon  was  not 
built  upon  scaffolding,  but  upon  a  solid  mound  of 
earth,  which  was  afterwards  carted  away  from  beneath 
it.  In  spite  of  its  noble  beauty  and  impressiveness, 
the  Pantheon  must  appear  to  visitors  ill-suited  for  a 
church.  Behind  the  third  chapel  to  the  left  Raphael 
is  buried.  Opposite  is  the  tomb  of  Victor  Emmanuel. 
We  enter  the  building  through  the  original  bronze 
doors.  The  soil  was  cleared  away  from  the  Piazza, 
and  it  was  reduced  to  its  present  level  by  Alex- 
ander VII.* 

8,  PAOLO  ALLA  SE60LA  is  a  very  old  church,  perhaps 
in  origin  linked  with  the  preaching  of  Paul  in  Rome, 
as  it  was  erected  on  a  spot  which  was  one  of  the  most 
ancient  Hebrew  quarters.  By  tradition  the  church 
was  called  Scuola  di  S.  Paolo,  and  the  district  or  con- 
trada,  was  called  Pauli,  and  is  so  mentioned  in  ancient 
documents.  The  adjoining  house  and  the  church  were 
owned  by  the  Reformed  Augustinians  until  1619.  They 
then  passed  into  the  hands  of  the  Sicilian  Franciscans, 
who  rebuilt  the  church  from  designs  of  Borgognoni. 
In  a  visitation  of  1566,  the  church  is  described  as 
"  dark,  damp,  and  badly  paved."  It  still  contains  an 
inscription  of  the  year  1096,  relating  to  some  gifts 
*  See  S.  Peter's,  p.  63  note. 


THE  CHURCHES  IN  ROME  313 

made  to  it  by  Urban  II.  Next  to  the  convent  is  an 
oratory,  dedicated  to  James  the  Great,  belonging  to 
the  Guild  of  Hatters. 

8.  PIETEO  IN  CAECERE. — At  the  bottom  of  the  steep 
flight  of  stairs  leading  down  from  the  Capitol,  and 
beneath  the  little  church  of  S.  Giuseppe  de'  Falegnami, 
is  the  entrance  to  the  famous  Mamertine  prisons,  the 
traditional  site  of  S.  Peter's  imprisonment  by  Nero, 
and  now  known  as  S.  Pietro  in  Carcere.  The  first 
mention  of  S.  Peter  having  been  imprisoned  here  is 
found  in  the  v.  century  "  Acts  "  of  SS.  Processus  et 
Martinianus,  these  martyrs  being  there  baptized  by 
Peter,  and  it  is  certain  that  the  spot  was  publicly 
venerated  before  the  viii.  century,  when  it  is  men- 
tioned in  the  Einsiedeln  Itinerary.  An  inscription  still 
exists  upon  the  front  of  the  building,  stating  that  it 
was  restored  in  the  reign  of  Tiberius,  and  there  seems 
little  doubt  that  the  lower  of  the  two  chambers  which 
constitute  the  little  oratory  is  part  of  the  original 
Tulliamim  mentioned  by  Festus,  Livy,  and  Sallust  as 
the  state  prison  for  important  offenders,  and  where 
executions  often  took  place.  This  lower  chamber  is 
partly  hewn  out  of  the  tufa  of  the  Capitoline  Hill,  and 
was  originally  only  entered  by  an  opening  in  its  ceiling ; 
it  communicates  with  another  gallery  hewn  out  of  the 
rock,  which  is  now  blocked  up.  In  the  centre  of  this 
chamber  is  a  spring,  which  according  to  the  legend, 
sprang  up  miraculously  that  Peter  might  baptize  his 
gaolers.  This  chamber  may  have  been  constructed  as 
early  as  the  time  of  the  Tarquins,  and  its  first  use  may 
very  possibly  have  been  that  of  a  well-house.  The 
chamber  above  is  probably  of  the  Republican  period, 
and  is  constructed  of  square  blocks  of  tufa. 

B.  PIETEO  IN  MONTOEIO  upon  the  Janiculum  has  been 
in  existence  from  the  ix.  century,  but  was  rebuilt  in 
the  XV.  century  by  Ferdinand  and  Isabella  of  Spain 
from  designs  of  Baccio  Pintelli.  About  this  time  the 
legend  arose  that  this  was  the  site  of  Peter's  martyrdom, 


314       CHRISTIAN  AND  ECCLESIASTICAL  HOME 

and  the  beautiful  little  circular  temple  was  accordingly 
erected  in  the  atrium  of  the  adjoining  monastery,  over 
the  spot  where  it  was  alleged  the  end  of  the  cross  had 
been  fixed.  The  temple  built  upon  the  golden  sand 
of  the  Janiculum  was  designed  by  Bramante.  S.  Pietro 
was  declared  a  titular  church  by  Sixtus  V.  in  1605, 
and  in  the  same  year  PhiHp  III.  of  Spain  strengthened 
the  hill  with  masonry  and  constructed  the  piazza  in 
front,  beneath  which  stretches  a  panorama  of  Rome. 
The  adjoining  monastery  was  in  the  xiv.  century 
occupied  by  Celestine  monks,  then  by  Franciscans. 
The  building  suffered  much  during  the  siege  of  Rome 
in  1849,  when  its  campanile  and  tribune  were  destroyed. 
Chapels  The  interior  consists  of  a  single  nave  without  aisles, 
right.  with  4  chapels  on  either  side.  The  jfirst  chapel  on 
the  right  is  decorated  by  Sebastiano  del  Piombo.  The 
principal  frescoes  represent  :  the  Flagellation ;  on  the 
roof  the  Transfiguration  ;  on  either  side  S.  Peter  and 
S.  Francis;  on  the  arch  outside  a  Prophet  and  a 
Sibyl.  The  second  chapel  on  this  side  is  painted  by 
pupils  of  Perugino.  In  the  fourth  chapel,  the  Con- 
version of  Paul  is  by  Vasari,  and  the  marble  monu- 
ments in  the  same  chapel  are  by  Ammanati. 

In  the  choir  behind  the  high  altar  Raphael's  Trans- 
figuration used  to  stand,  now  replaced  by  a  copy  of 
Guido's  Crucifixion  of  Peter. 
Left.  In  the  left  aisle,  the  fifth  chapel  of  S.  John  Baptist 

is  decorated  by  Francesco  Salviati,  and  has  an  altar- 
piece  by  D.  da  Volterra.  The  paintings  of  the  next 
chapel  have  been  attributed  to  Vandyke.  In  the  first 
chapel  on  this  side  is  a  fresco  of  S.  Francis  receiving 
the  stigmata  by  Giov.  de'  Vecchio.  This  church 
contains  to  the  left  of  the  high  altar  the  unmarked 
grave  of  Beatrice  Cenci,  and  the  xvii.  century  tombs 
of  two  Irishmen,  Baron  Dungannon  and  the  Earl  of 
Tyrconnel. 

S.  PIETEO  IN  VINCOLI,  Cipon  the  Esquiline,  is  the 
original  Titulus  Eudoxiana  founded  by  Eudoxia  daughter 
of  Theodosius  and  wife  of  Valentinian  III.  in  which 


THE  CHURCHES  IN  ROME  315 

to  preserve  the  chains  which  her  mother  had  brought 
back  with  her  from  a  pilgrimage  in  Palestine.  These 
chains  said  to  have  bound  S.  Peter  while  in  prison  in 
Jerusalem,  Eudoxia  gave  to  Leo  I.,  and  with  those 
said  to  have  been  used  in  Peter's  captivity  in  Rome 
under  Nero,  they  were  placed  in  the  basilica  built  by 
Eudoxia  about  the  year  a.d.  442,  and  have  ever  since 
been  there  venerated.  The  basilica  was  called  S.  Pietro 
in  Vincoli  although  dedicated  to  both  Apostles,  as 
appears  in  an  inscription  formerly  upon  the  door  of 
the  church.  It  was  restored  by  Adrian  I.  (771)  and 
again  in  the  xv.  and  xvi.  centuries,  when  its  ancient 
character  was  lost,  and  it  was  decorated  in  the  worst 
taste  of  that  epoch.  From  this  time  it  has  belonged 
to  the  Canons  regular  of  the  Lateran. 

The  22  ancient  columns   of  the  nave   with   Doric 
capitals  still  remain  in  the  church. 

To  the  right  on  entering,  is  a  painting  of  S.  Augus-  Right 
tine  by  Guercino,  and  beyond  this  chapel  the  tombs  ^^^^^ 
designed  by  Domenichino,  of  two  cardinals.  In  the 
second  chapel  is  a  copy  of  Domenichino's  Deliverance 
of  Peter.  Beyond  this  is  a  portion  of  the  colossal 
monument  designed  by  Michael  Angelo  for  Julius  II., 
which  was  to  be  placed  in  S.  Peter's,  and  was  to  be 
on  so  enormous  a  scale  that  the  size  of  the  tribune  of 
the  new  S.  Peter's  was  planned  with  this  end  in 
view.  The  execution  of  the  monument  was  sub- 
jected to  a  series  of  vicissitudes,  of  quarrels  between 
the  pope  and  Michael  Angelo,  followed  by  the  death 
of  Juhus  II.  and  then  of  the  artist,  with  the  result 
that  only  a  small  portion  of  it  was  ever  completed,  to 
be  relegated  to  this  obscure  and  disadvantageous  posi- 
tion in  S.  Pietro  in  Vincoli,  while  the  body  of  Julius  II. 
shares  a  grave  with  that  of  Sixtus  IV.  in  a  chapel  in 
S.  Peter's,  the  fact  being  recorded  upon  a  simple  marble 
stone.  The  figure  of  Moses  and  those  of  Religion 
and  Virtue,  or  of  Rachel  and  Leah  as  some  consider 
them,  are  those  placed  in  the  church  of  S.  Pietro  in 
Vincoli.     Two  other  figures  are  in  the  Louvre,  and 


3i6       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

another  in  the  Boboli  at  Florence  of  the  30  or  40 
which  formed  part  of  the  original  design.  The  prophet 
Elias  beside  the  Moses  is  also  by  Michael  Angelo, 
the  Sibyl  by  Raphael  da  Montelupo  ;  the  figure  of  the 
pope  is  by  Maso  dal  Bosco,  and  the  group  above  by 
Scherano  da  Settignano, 
Tribune.  Beyond  this  monument  is  a  chapel  with  an  altar- 
piece  of  S.  Margaret  by  Guercino.  The  vault  of  the 
tribune  was  painted  by  Coppi,  a  Florentine.  The  high 
altar  is  modem.  In  the  confession  beneath,  where 
traditionally  were  preserved  the  relics  of  the  Seven 
Maccabees,  was  discovered  in  1876  under  the  floor,  a 
IV.  century  sarcophagus  containing  human  ashes  in 
seven  separate  compartments,  and  an  inscription  upon 
lead  to  the  effect  that  here  were  the  ashes  and  bones 
of  the  seven  brothers  Maccabee.  To  the  right  of  the 
tribune  arch  is  the  monument  of  Clovio,  the  xvi. 
century  miniature-painter  and  canon  of  the  church. 
In  the  apse  an  ancient  episcopal  throne  is  preserved. 
Left  aisle.  On  the  left,  over  the  third  altar,  stands  an  interesting 
mosaic  of  S.  Sebastian  dated  680,  the  most  ancient 
representation  of  this  saint  known  after  that  in  the 
catacomb  of  Callistus.  The  saint  is  represented 
bearded.  The  mosaic  originally  formed  part  of  a 
votive  altar  erected  after  a  plague  in  this  year. 

An  antique  inscription  of  532  once  in  the  pavement, 
is  now  attached  to  the  left  wall  of  the  church  under 
the  organ. 

In  this  basilica  are  monuments  to  the  metal-workers, 
the  brothers  Pollaiuolo  of  the  xiv.  century ;  of  Cardinal 
di  Cusa  of  the  xv.  century,  and  of  Cardinal  Aldobran- 
dini  nephew  of  Clement  VIII. 

The  chains  of  Peter  are  kept  in  a  bronze  tabernacle 
worked  by  Pollaiuolo,  in  the  sacristy.  Here  also  is  a 
picture  by  Domenichino  of  Peter's  deliverance. 

The  adjoining  monastery  and  residence  for  the  car- 
dinal titular  were  designed  by  San  Gallo  ;  they  are 
now  used  as  a  physical  laboratory  and  school.  The 
well  in  the  cloisters  is  supposed  to  be  the  work  of 


THE  CHURCHES  IN  ROME  317 

Michael  Angelo.  John  II.,  in  532,  and  Gregory 
VII.,  in  1074,  were  elected  to  the  papacy  in  this 
basilica. 

Feast  days. — June  29,  and  of  S.  Peter's  chains  August  i. 

The  Station  is  on  the  ist  Monday  in  Lent. 

smoN  PETER  is  the  most  frequently  mentioned  of  all 
the  Apostles,  and  appears  in  a  far  larger  number  of 
scenes  with   his  divine   Master.      These  scenes,  and  The  sym- 
both  the  praises  and  the  warnings  he  received  from  bolical 
Christ,  are  understood  to  have  constituted  a  continual  character 
education  of  Peter,  an  allegory  of  the  Church's  history  thin-^s  re- 
in the  world,  an  object  lesson  for  his  successors.     How  corded  of 
often  when  the  Church  has  been  in  troubles  have  the  S.  Peter, 
popes  said  that  Christ  was  asleep  in  the  Bark  of  Peter  ! 
And  Peter's  boat  has  become  symbolic  of  the  Ship  of 
the  Church,  because  Christ  chose  his  boat  from  which 
to  teach  the  multitude. 

The  titles  Christ  bestows  on  this  one  apostle  dif-  The 
ferentiate  him  from  all  the  others :    hence  he  is  the  Gospel 
Fisherman  (Piscator),  the  Shepherd  (Pastor),  the  Key-  pefej. 
Bearer  ("  Claviger  "). 

The  reproaches  administered  to  Peter  are  equally  The 
typical  :  "  O  thou  of  httle  faith,  wherefore  didst  thou  rebukes, 
doubt  ?"    and    when    they   were   gone    up    into    the 
boat,  the  wind  ceased.     "  Go  after  me,  Satan,  thou 
art  a  stumbling-block  to  me  ;  for  thou  dost  not  mind 
the  things  of  God,  but  the  things  of  men."     Six  days 
later,   Peter   makes    the  well-intentioned   but   foolish 
suggestion  to  build  3  tabernacles  :  "  Lord,  it  is  good 
for  us  to  be  here."     During  the  Passion   the  typical  s.  Peter 
nature  of  Christ's  dealings  with  Peter  appears  in  every  during  the 
scene.     Here   too  He  rebukes  their  wrangling  as  to  Passion, 
who  shall  be  greatest  and  chief;  the  last  and  most 
solemn  of  these  rebukes.      He  tells  Simon  "  Satan 
asked  to  have^  you  (the  disciples),  that  he  might  sift 
you  as  wheat ;'  but  I  have  prayed  for  thee  (Peter)  that 
thy  faith  fail  not."     The  scenes  in  Gethsemane  are  of 
the. same  character  (Matt.,  xxvi.  37  ;  John  xiii.  36,  37). 
It   is    to   Peter   He    says    "  Simon,    sleepest    thou  ? 


sion. 


318       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Couldst  thou  not  watch  with  me  one  hour  ?"     It  is  to 

Peter,  who  had  defended  Him  with  the  sword  that 

He  says  "  All  they  that  take  the  sword  shall  perish 

with  the  sword."*    Peter  runs  away  with  the  rest,  but 

"  follows  afar  off."     He  denies  Christ  3  times.     His 

bitter  penitence  follows,  and  hence  he  is  represented 

with  the  Magdalene  as  one  of  the  2  great  penitents. 

Peter  is  represented  as  believing  the  tale  of  the  holy 

women  sufficiently  to  act  on  it,  while  it  appeared  as 

"  idle  "  in  the  sight  of  the  others. 

After  the        On  the  shore  of  Tiberias,  Peter  says  to  the  rest 

Resurrec-  "I    go   a-fishing ;"    "they   say   unto   him:    we   also 

'i°"  come  with  thee."     Peter  asks  concerning  John  "Lord, 

and  what  shall  this  man  do  ?"  and  is  answered  in  the 

wonderful  words    "  What  is  that  to  thee  ?      Follow 

thou  me." 

After  the        Peter  in  every  case  speaks  for  and  answers  for  his 

Ascen-       brethren  (Acts  i.  15,  16  ;  ii.  14,  37,  38  ;  iv.  8,  9  ;  v.  3, 

29).     In  chapter  xii.  of  the  Acts,  Peter  is  imprisoned, 

and  his  shackles   taken  off  and  he  delivered  by  an 

angel ;  a  subject  as  beautiful  in  art  as  it  is  simply  told 

in  the  Acts. 

Two  other  incidents  must  be  recorded :  It  is  Peter 
who  asks  "  How  often  shall  my  brother  sin  against 
me,  and  I  forgive  him  ?  until  seven  times  ?"  and  is 
answered  "  I  say  not  unto  thee  until  seven  times,  but 
until  seventy  times  seven."  The  other  incident  is 
Christ  paying  the  tribute  for  Himself  and  for  Peter  A 

It  is  remarkable  that  in  two  cases  John,  type  of  the 

*  The  incident  in  Luke  xxii.  38  where  Christ  says  on  being 
told  there  are  2  swords  "  It  is  enough,"  has  been  taken  to  repre- 
sent the  right  of  the  Church,  understood  as  the  hierarchy,  to  the 
use  of  the  spiritual  and  the  temporal  swords.  A  feeble  piece  of 
criticism,  considering  the  rebuke  quoted  above.  "  It  is  enough  " 
appears  to  have  signified  "We  want  none,"  and  the  apostles' 
suggestion  of  2  swords  to  have  been  another  error  of  understand- 
ing, as  in  the  parable  about  leaven  and  bread :'  Christ  had  just 
said  :  "  But  now  let  him  that  hath  a  cloke  sell  it  and  buy  a  sword  ;" 
which  was  merely  parabolic. 

t  The  tribute  was  a  didrachma,  and  Christ  paid  a  stater  which 
is  2  didrachmas. 


THE  CHURCHES  IN  ROME  31  (> 

beloved  follower  of  his  Lord,  is  first  to  recognise  Him 
or  to  arrive,  but  Peter  is  the  first  to  act,  John  recog- 
nises the  Lord  on  the  water  :  "It  is  the  Lord,"  but 
Peter  casts  himself  into  the  waters  to  go  to  Him. 
John  arrives  first  at  the  sepulchre,  "  outstripping 
Peter,"  but  Peter  goes  into  the  tomb. 

For  S.  Peter,  refer  also  to  Chapters  IV.  and  X.,  and  for  the 
festivals  concerning  him  to  Part  II. 

8.  PEA88EDE. — This  is  one  of  the  most  ancient  titular 
churches  in  Rome,  and  is  mentioned  in  the  Acts  of 
Symmachus'  council  a.d.  499.  An  inscription  has 
been  found  relating  to  the  sale  of  a  tomb  in  the  Tituliis 
Praxedis  in  a.d.  491.  It  is  said  to  have  been  built  on 
the  site  of  the  house  of  Praxedis  (Prassede)  daughter 
of  Pudens,  contemporary  of  Peter  ;  and  the  origin  of 
the  titulus  may  be  traced  apparently  to  the  apostolic 
age. 

Old  S.  Prassede  was  in  ruins  in  the  ix.  century  : 
Eccksiam  etenim  beatissima  Christi  Martyris  Praxedis  quce 
quondam  a  priscis  adificata  temporibus,  nimia  Jam  lassata 
senio.  "  The  church  of  the  most  blessed  martyr  of  Christ 
Praxedis,  which  was  built  in  primitive  times  was  now 
exceedingly  ruinous  from  age."  Paschal  I.  determined 
to  rebuild  it,  "  for  his  great  sentiment  of  veneration 
for  the  aforesaid  holy  martyr  of  Christ  Praxedis  " ;  he 
had  himself  been  titular  presbyter  of  this  church.  It 
was  built  on  the  original  plan,  3  chapels  being  added  : 
one  to  S.  John  the  Baptist,  one  to  S.  Zeno,  and  one 
behind  the  apse  to  S.  Agnes  of  which  there  is  now  no 
trace.  He  also  erected  a  monastery,  dedicated  to  the 
Virgin  Praxedis,  and  placed  there  a  Greek  congrega- 
tion* of  monks,  "  who  day  and  night  honoured  God  in 
Greek  psalmody  and  prayed  for  those  there  buried." 

The  church  is  close  to  S.  Maria  Maggiore,  and  its 
monastery  was  one  of  those  attached  to  this  basilica. 
Innocent  III.  gave  it  to  the  Vallombrosians  (1198- 
12 16)  who  have  possessed  it  ever  since.     The  greater 

*  Sanctum  Grtuorum  Congregationem .     Lib.  Pont,  in  Paschal! . 


320       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


part  of  the  building  is  now  a  barrack,  but  a  few  monks 
with  an  abbot  still  occupy  the  remainder. 

This  basilica  has  unhappily  suffered  much  from 
modern  restoration.  It  retains  however  its  beautiful 
campanile  of  the  ix.  century,  which  is  decorated  on 
the  inside  with  frescoes  of  the  same  date,  long  supposed 
to  represent  the  life  of  S.  Agnes.  They  have  now  been 
shown  by  Signor  Armellini  who  has  examined  them 
with  the  utmost  difficulty  owing  to  their  perished 
condition,  to  represent  the  martyrdoms  of  Celso  and 
Giuliano,  Chrysanthus  and  Daria,  Hilaria  and  Maurus,'*' 
and  other  martyrs  whose  relics  were  removed  to  the 
church  by  Pope  Paschal.  The  church  has  also  a 
quaint  portico  on  ancient  pillars  at  the  main  entrance, 
now  seldom  used.  We  now  enter  by  a  side  door  in 
the  little  street  Via  di  S.  Prassede,  opening  on  to  the 
right  aisle. 
Interior.  In  the  xvi.  century  the  church  was  restored  in  the 
worst  possible  taste  by  S.  Charles  Borromeo,  who  was 
its  titular  cardinal,  so  that  it  is  scarcely  possible  to 
realize  when  on  the  spot  its  great  and  important 
memories.  The  ancient  nave  pillars  remain,  of  gray 
granite  with  composite  capitals,  8  on  either  side,  six 
heavy  piers  being  added  to  strengthen  the  roof. 
Tribune  .  The  tribune  which  has  a  double  arch,  still  preserves 
mosaics,  its  beautiful  mosaics.  On  the  face  of  the  outer  arch, 
is  the  holy  City  of  the  Apocalypse  :  Christ  in  the 
centre  stands  between  2  angels,  Praxedis  and  Puden- 
tiana  on  either  side  of  him  ;  angels  guard  its  gates, 
while  a  crowd  of  the  just,  stand  round  the  city  on  either 
hand,  bearing  palms  and  wreaths.  On  the  face  of  the 
inner  arch,  is  the  Lamb,  with  2  angels  on  either  hand, 
and  the  signs  of  the  4  Evangelists.  Below  are  24  elders 
clothed  in  white,  1 2  on  each  side,  referring  to  Apocalypse 
V.  6,  9. 

In   the   apse   itself,   the   mosaics   represent   Christ 
standing  between  6  saints.     On  His  right  stand  Paul 
and  Praxedis,   Paul's   arm   resting  on  her  shoulder ; 
•  The  martyrs  of  the  catacomb /o^-ianoz-Kt/; . 


THE  CHURCHES  IN  ROME  321 

next  to  them  is  Pope  Paschal,  wearing  the  square  blue 
nimbus,  and  carrying  the  church  in  his  hand.  On 
the  Redeemer's  left  stand  Peter  and  Pudentiana, 
Peter's  arm  resting  on  Pudentiana's  shoulder ;  and 
next  to  them  stands  the  martyr  Zeno.  At  their  feet 
runs  the  river  Jordan  ;  and  beneath  this  is  the  throned 
lamb,  with  the  12  sheep  issuing  from  the  2  mystic 
cities.  Paschal's  inscription,  stating  that  he  built  this 
church  in  honour  of  Praxedis,  and  placed  in  it  the 
bodies  of  many  martyrs,  runs  beneath. 

Beneath  the  High  Altar  is  the  confession,  where  rest 
the  bodies  of  Praxedis,  Pudentiana,  and  others  whose 
relics  were  removed  from  the  catacombs.  The  altar 
with  its  hideous  marble  tabernacle,  dates  from  1730; 
the  white  marble  pillars  of  the  choir  ornamented  with 
foliage  were  erected  by  Borromeo.  In  the  centre  of 
the  nave  is  a  well  in  which  Praxedis  is  said  to  have 
placed  the  bodies  and  the  blood  of  the  martyrs  who 
suffered  on  the  Esquiline. 

Near  the  main  entrance  to  the  right  is  an  inscription  Right 
stating  that  the  bodies  of  2,300  martyrs  are  here  de-  ^^^le. 
posited.  Near  this  are  2  monuments  to  the  Santa 
Croce  family  of  the  xvi.  century.  The  Jirst  chapel 
on  the  right  has  a  copy  of  the  celebrated  Madonna  di 
Pompeii,  its  decoration  is  entirely  modern.  There 
are  several  interesting  pavement  stones  with  fine 
lettering,  in  this  aisle,  one  to  a  pilgrim.  The  third 
chapel  is  that  of  S.  Zeno  (see  below),  in  the  recess 
outside  is  the  tomb  of  Cardinal  Cetivi,  obiit  1474,  with 
figures  of  SS.  Peter  Paul  Praxedis  and  Pudentiana, 
of  fine  workmanship.  On  the  pier  outside  S.  Zeno's 
chapel  is  the  bust  of  Monsignor  Santoni  said  to  be 
the  work  of  Bernini  when  a  child  of  10. 

Beyond  the  side  entrance  is  the  chapel  of  the  Cru- 
cifix, with  the  beautiful  tomb  of  Cardinal  Anchera, 
1286,  probably  the  work  of  the  Cosmati. 

In  the  left  aisle,  the  fourth  chapel  is  modern,  with  a  Left  aisle, 
picture  of  S.  John  Gualbertus.    The  third  is  the  Olgiati 
chapel,  with  monuments  of  that  family ;  the  altar-piece 


322       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

represents  the  Veronica  incident,  and  is  by  F.  Zucchero ; 
•  the  roof  is  frescoed  by  Cavaiiere  d'  Arpino,  the  subject 
being  the  Ascension,  Resurrection,  and  the  Four 
Doctors.  In  this  chapel  are  the  chair  of  S.  Charles, 
and  the  table  from  which  he  distributed  food  to  the 
poor.  In  the  sacristy  is  preserved  his  mitre.  The 
second  chapel  is  dedicated  to  S.  Charles  Borromeo,  and 
has  3  ugly  pictures  relating  to  him.  The  Jirst  chapel 
is  that  of  the  Capogrossi  family ;  the  picture  repre- 
sents Peter's  visit  to  the  household  of  Cornelius. 
Near  the  door  at  this  side  a  slab  of  granite  let  into  the 
wall  is  said  to  be  that  on  which  Praxedis  slept.  Near 
it  is  the  pavement  tomb  of  a  knight,  with  the  date 
1388. 
Chapel  of  The  chapel  of  S.  Zeno  is  one  of  those  added  by 
S.  Zeno.  Paschal,  and  was  apparently  intended  as  a  shrine  for 
the  martyrs  Zeno  and  Valentine,  and  a  burial  place 
for  his  mother.  It  leads  out  of  the  right  aisle,  and  is 
a  little  building  complete  in  itself,  forming  one  of  the 
most  beautiful  ecclesiastical  monuments  in  Rome. 
The  columns  of  the  doorway  of  black  marble  belonged 
to  a  III.  century  pagan  edifice ;  the  door-jambs  and 
architrave  are  of  carved  marble,  and  support  an  ancient 
marble  urn.  Above  the  doorway  are  mosaic  busts 
ranged  in  2  series  round  a  window  opening  into  the 
chapel.  In  the  upper  series  our  Lord  with  Paul  on 
his  right  and  Peter  on  the  left,  and  the  10  other 
apostles.  In  the  lower  tier  the  Madonna  between 
Valentine  (right)  and  Zeno  (left),  Praxedis  and  Puden- 
tiana,  and  6  other  women  saints,  all  richly  dressed  and 
crowned.  In  the  angles  above,  2  prophets  within 
circles.*  At  the  extremities  of  the  upper  tier  are  busts 
Interior,  of  2  popes  of  a  later  period.  The  chapel  is  square 
with  an  arched  roof,  and  columns  in  the  4  corners.  It 
is  entirely  covered  with  mosaic,  which  gained  for  it  the 
name  of  the  Orto  del  Paradise,  garden  of  Paradise. 

*  The  position  in  lunettes  and  appearance  of  these  -figures,  who 
wear  tunics  and  palliums,  and  have  white  hair,  would  point  them 
out  as  prophets,  by  the  traditions  of  Christian  art. 


THE  CHURCHES  IN  ROME  323 

Beneath  the  mosaic,  is  a  dado  of  white  marble.  It  has 
an  ancient  tessellated  pavement,  a  red  porphyry  wheel  The 
surrounded  by  a  serpentine  and  porphyry  cubes.  On  mosaics, 
the  spring  of  the  arch  at  the  4  corners  stand  4  solemn 
angels,  winged,  their  feet  on  globes,  with  arms  lifted 
up  towards  the  central  disc  in  which  is  an  image  of 
the  Redeemer.  This  figure  is  vested  in  a  gold  alb. 
On  the  walls  are  figures  of  Saints  in  the  garden  of 
Paradise.  On  that  opposite  the  entrance,  the  Virgin, 
with  S.  John  Baptist  who  carries  a  lamp,  within 
which  is  a  disc  with  the  figure  of  a  lamb.  On  this 
wall  is  an  arched  window  from  which  the  chapel  is 
lighted.  On  the  wall  to  the  right  are  the  apostles 
John,  Andrew,  and  James,  in  their  hands  a  book  held 
on  a  niappula.-'-  On  the  left  wall  Agnes,  Praxedis,  and 
Pudentiana,  who  each  hold  a  crown  in  the  same  way. 
Over  the  doorway  is  the  Throne  of  Christ,  to  the  right 
stands  Peter,  to  the  left  Paul. 

The  mosaics  of  the  lunette  opposite  the  door  have 
been  spoilt  by  the  alabaster  columns   and  architrave 
of  a  modern  altar.     The  Blessed  Virgin  seated  with 
the    Child    appears    here    between    Pudentiana    and 
Praxedis.     This  may  be  as  late  as  the  xiii.  century. 
By   the    Madonna    are    the    Greek    letters   MP   EM 
Mater  Emanuel.     Within  this  niche  the  transfigura- 
tion was  represented  ;  the  figures  of  Christ,  Peter,  and 
an  unknown  woman  saint  remain,  but  this  part  is  all 
much    mutilated.      The   corresponding   niche   to   the 
right  is  now  closed  by  a  grating  and  stucco  work,  to 
ornament  a  column  placed  under  the  urn  of  SS.  Zeno  shrine  of 
and  Valentine.      This  column   was    brought  in   1223  S.  Zeno. 
from  Jerusalem,  by  Cardinal  Giovanni  Colonna,  titular  Right 
of  the  church  ;  it  is  of  blood  jasper,  and  is  alleged  to  wall, 
be  that  to  which  Christ  was  tied  at  His  flagellation. 
Who  persuaded  the  cardinal  that  this  column,  a  column 
being  the  device  of  his  family,!  was   that   at  which 

•  Part  II. 

t  Colonna,  Columna,  Column.     We  learn,  however,  from  the 
Peregrinatio  of  Silvia,  who  visited  Jerusalem  in  the  last  quarter  of 

21 — 2 


324       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

the  Redeemer  was  flagellated,  cannot  now  be  known, 
but  the  barbarism  committed  in  Paschal's  chapel  re- 
mains patent  to  every  eye.  The  marble  urn  which 
contains  the  martyrs'  relics  still  exists,  but  the  relics 
themselves  were  removed  in  1699.  Above,  are  3 
busts  in  mosaic,  the  Redeemer  in  the  centre  with  a 
cruciform  nimbus,  and  2  other  tonsured  saints  each 
with  a  nimbus,  one  with  an  open  book,  and  the  other 
in  an  ancient  chasuble.  De  Rossi  considers  these  to 
be  Valentine  and  Zeno. 
Left  wall.  Opposite  the  shrine  of  these  saints  is  the  site  where 
Paschal's  mother  was  laid,  probably  by  her  oon. 
This  shrine  has  also  been  mutilated,  an  opening  being 
made  through  the  thickness  of  the  wall  that  the  column 
may  be  viewed  from  this  side.  In  the  lunette  under 
the  arch  is  the  mystic  lamb  on  the  mount,  with  the 
four  rivers,  from  which  deer  slake  their  thirst.  Beneath 
this  are  4  busts  of  women— representing  Pudentiana 
(right),  the  Virgin  Mary,  Praxedis,  and  Theodora 
Paschal's  mother.  Their  names  appear  by  the  side  of 
each.  The  bust  of  the  Madonna  presents  the  type 
now  familiar  to  us.  Praxedis  is  crowned.  Theodora 
wears  a  white  veil  and  a  square  nimbus.  It  will  be 
remembered  that  Paschal  himself  is  effigied  with  the 
square  nimbus  on  the  tribune  of  the  church.*  By  her 
head  is  written  Theodoj^a  Episcopa.  She  and  the 
Madonna  are  the  only  instances  of  women  with  veils  in 
this  chapel.  De  Rossi  considers  that  the  position  of  the 
ancient  cubes  forming  the  lettering  has  been  altered  ; 
the  names  of  Praxedis  and  Theodora  now  running 
horizontally  while  anciently  they  were  perpendicular. 
Theodora  does  not  appear  in  Ciampini's  drawings  and 
description  of  this  chapel.     It  is  certain  from  an  in- 


the  IV.  century,  that  there  then  existed  a  column  of  the  flagellation 
in  the  cathedral  church  of  the  Holy  City.  She  says:  "  Statim 
unusquisque  animosi  vadent  in  Syon  orare  ad  columnam  illam  ad  quant 
flagellatus  est  Dominus." 

*  That  over  his  mother's  head  is  the  only  instance  of  a  square 
nimbus  on  a  woman  in  Rome  (De  Rossi). 


THE  CHURCHES  IN  ROME  325 

scription  outside  that  this  chapel  was  destined  as  the 
place  of  her  burial.  Lower  down  is  the  descent  of 
Christ  into  Hades,  from  which  He  brings  Adam  and 
Eve  :  a  subject  which  appears  in  the  lower  church  of 
S.  Clemente,  in  frescoes  of  the  same  period. 

All  the  mosaics  of  this  chapel  are  on  a  gold  back- 
ground. 

Another  name  for  the  chapel  is  S.  Maria  libera  nos 
a  poenis  inferni. 

The  reader  will  be  surprised  to  hear  that  the  entrance 
to  this  chapel  is  forbidden  to  women.  A  modern  notice 
over  the  door  states  in  Italian  that  no  woman  may 
enter  under  pain  of  excommunication.  It  is  however 
open  on  the  Smidays  of  Lent,  when  crowds  of  poor 
women  go  to  pray  before  the  column. 

Outside  the  chapel  of  S.  Zeno  let  into  the  pier  of  Paschal's 
the  nave  is  the  original  inscription,  in  fine  old  lettering,  ipcnp- 
giving  the  names  of  the  martyrs  moved  from  the  cata- 
combs, and  deposited  here  by  Paschal.  After  the 
names  of  the  virgins  and  widows,  this  inscription  pro- 
ceeds to  tell  us  that  on  the  right  hand  of  the  basilica 
as  you  enter,  rests  the  body  of  the  most  beneficent 
Lady  Bishop  Theodora.*  It  is  towards  the  end  of  the 
inscription.  The  whole  is  cited  in  the  Liber  Pontifi- 
calis. 

Feast  day. — July  21. 

The  Station  is  on  the  6th  Monday  in  Lent. 

PEAXEDis  was  sister  to  Pudentiana,  the  daughter  of 
the  Pudens  and  Claudia  mentioned  in  ii.  Timothy, 
and  the  grand  daughter  of  Priscilla  who  founded  the 
catacomb  of  that  name  on  Via  Salaria.  She  lived 
through  the  first  great  persecution  of  the  Church,  and 
with  her  sister  went  about  comforting  and  encouraging 
the  victims,  seeking  out  those  who  were  tortured,  and 
ministering  to  them  in  her  own  house.  They  also 
buried  the  martyrs.     Praxedis  was  laid  to  rest  in  Pris- 

•  Quocirca  et  in  ipso  ingressu  basilicae  manu  dextra  ubi  utique 
Benignissimae  suae  genitricis  scilicet  Domnae  Theodorae  Episcopae 
corpus  quiescit. 


326       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

cilia's  cemetery,  by  Pastorus,  in  the  sepulchre  of  her 
father  and  sister.  The  narrative  says  that  unable  to 
support  the  horrors  suflFered  by  the  Christians,  she 
prayed  to  be  taken,  and  was  called  on  the  12th  Kalends 
of  August.     (Compare  S.  Pudentiana,  infra.) 

S.  PEISCA  upon  the  Aventine  is  one  of  the  ancient 
Roman  basilicas,  and  appears  as  Titulus  Prisca  in  the 
list  of  subscriptions  to  the  synod  of  Symmachus  (499). 
This  church  is  said  traditionally  to  have  originated  as 
an  ecclesia  domestica,  the  church  built  within  the  house 
of  Priscilla  and  Aquila  which  is  mentioned  in  the  Acts* 
and  in  S.  Paul's  Epistles  ;f  where  Peter  stayed  when 
in  Rome,  and  which  was  the  centre  of  his  apostolic 
labours.  The  body  of  Prisca  virgin  and  martyr,  was 
placed  in  this  church  later  by  Pope  Eutychus  (275-283), 
but  the  ancient  tradition  of  its  foundation  was  retained 
through  the  middle  ages,  and  it  appears  in  documents 
as  the  church  of  Aquila  and  Prisca.  In  the  xii.  cen- 
tury S.  Prisca  was  an  abbey  church,  of  the  "  titulus 
heatonim  AquilcB  et  Prisca,'"  and  up  to  the  xiv.  cen- 
tury an  inscription  referring  to  its  apostolic  origin 
existed  upon  the  architrave  of  the  great  door.  This 
venerable  tradition  has  lately  received  remarkable  con- 
firmation through  the  investigations  of  De  Rossi.  He 
has  found  accounts  of  two  important  discoveries  made 
in  the  garden  near  the  church  in  the  last  century. 
One  of  these  was  the  excavation  of  a  Christian  oratory 
dating  from  the  first  centuries  of  the  faith,  decorated  with 
frescoes,  in  which  the  symbol  of  the  fish  and  figures  of 
the  apostles  were  discernible.  A  few  years  later  the 
remains  of  an  ancient  Roman  house  were  excavated 
close  to  the  basilica,  and  in  it  was  found  an  inscription 
upon  bronze,  now  in  the  Vatican  Library,  referring  to 
the  owner  of  the  house  Cornelianus  Pudenti,\  senator  of 
Rome  in  the  year  222.  Unfortunately  these  interest- 
ing ruins  have  been  destroyed,  but  the  records  left  of 

*  xviii.  2,  3.  t  I  Cor.  xvi.  19;  Rom.  xvi.  3-5. 

\  Cajus  Marius  Pudens  Cornelianus :  a  Pudens  adopted  by  a 
Cornelius. 


THE  CHURCHES  IN  ROME  327 

their  discovery  and  the  circumstance  that  the  dwelling 
of  Cornelius  of  the  family  of  Pudens  was  upon  this 
spot,  are  sufficient  to  show  the  close  relation  between 
the  domus  Prisca  on  the  Aventine  and  the  damns  Puden- 
tiancs  on  the  Esquiline,  and  present  a  valuable  con- 
firmation of  the  tradition  that  this  is  the  "  ecclesia 
domestica  "  of  Priscilla. 

The  basihca  of  S.  Prisca  was  restored  in  772  by 
Adrian  I.,  and  by  CaUixtus  III.  in  1455  who  left  an 
inscription  recording  his  work,  now  on  the  left  of  the 
altar,  and  in  which  he  refers  to  the  temple  of  Hercules 
and  to  other  pagan  reminiscences  of  the  site.  Cardinal 
Giustiniani  rebuilt  the  fa9ade  and  restored  the  confes- 
sion in  1600,  and  Gregory  XII.  (1406)  reduced  the 
church  to  its  present  form.  At  one  time  it  had  two 
entrances,  but  no  trace  now  remains  of  the  second. 
The  14  ancient  pillars  of  the  nave  have  been  built  into 
masonry  piers  for  additional  strength. 

The  confession  beneath  the  altar  is  reached  by  a 
double  staircase  and  is  lighted  by  a  grating  in  the 
nave  pavement.  Here  are  preserved  a  xiii.  century 
mosaic  of  S.  Peter,  and  a  font  formed  of  the  Doric 
capital  of  a  pillar  with  three  cups,  popularly  said  to 
have  been  used  by  Peter  for  baptizing  the  first  convert 
Christians.  The  inscription  which  records  this  upon 
the  font  is  of  the  xii.  or  xiii.  century. 

The  painting  over  the  high  altar  above  is  by  Pas- 
signani. 

From  the  viii.  century  until  1061,  the  monastery 
attached  to  the  church  was  in  the  possession  of  Greek 
monks.  From  that  date  it  was  held  by  Benedictines 
until  1414.  For  some  time  it  belonged  to  Franciscans, 
and  is  now  occupied  by  Augustinians. 

The  church  is  seldom  open. 

The  feast  day  of  S.  Prisca  is  January  18,  and  the  church  is 
also  open  on  the  6th  Tuesday  in  Lent  for  the  Station,  and  on 
September  30  the  day  of  its  dedication. 

8.  PEiBCA  is  said  to  have  been  the  child  of  noble 
Roman    parents.       When  only  thirteen    she  was   on 


328       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

account  of  her  faith  exposed  in  the  Roman  amphi- 
theatre, but  the  Hon  which  should  have  devoured  her 
only  licked  her  feet.  She  was  then  led  away  and 
beheaded.  The  legend  of  this  saint  is  a  favourite  sub- 
ject in  French  glass  and  sculpture.  She  appears  with 
the  martyr's  palm,  a  lion  at  her  side.  An  eagle  is 
said  to  have  watched  by  her  dead  body,  and  is  there- 
fore sometimes  introduced  as  an  attribute.  For  Pris- 
cilla  see  Chapter  X.,  the  catacomb  of  that  name. 

PROPAGANDA  CHAPEL. — The  chapel  of  the  Propaganda 
College  is  dedicated  to  the  Magi.  It  was  built  from 
the  designs  of  Borromini  and  was  consecrated  in  April 
1729  by  Cardinal  Pitra.  The  remains  of  S.  Hyacinth 
discovered  by  P.  Marchi  in  1843,  with  the  original 
epitaph,  are  walled  up  in  the  second  chapel  on  the 
left.*  Over  the  high  altar  is  a  picture  of  the  Adora- 
tion of  the  Magi. 

Feast  day. — January  6. 

S.  PTTDENTIANA  is  one  of  the  first  of  Christian  churches, 
and  one  of  the  most  interesting.  Ancient  tradition! 
points  to  this  site  as  the  house  of  the  Senator  Pudens, 
in  which  Peter  lodged  and  baptized.  It  lies  on  a  slope 
of  the  Esquiline,  which  anciently  was  the  Vicus 
Patricius,  and  on  the  site  of  the  Baths  of  Novatus. 

The  Baths  of  Novatus  were  erected  in  the  first  cen- 
tury, the  founders  being  Novatus  and  Timothy  the 
brethren  of  Pudentiana  to  whom  this  church  is  dedi- 
cated. According  to  the  tradition,  Praxedis  begged 
Pope  Pius  I.  to  dedicate  a  church  on  the  site  of  the 
house  of  Pudens  and  Pudentiana,  which  he  did  in 
A.D.  143,  141,  or  145.  This  site,  then,  recording  the 
place  of  reunion  of  the  Apostles  Peter  and  Paul  with 
the  first  Roman  Christians,  was  early  named  as  a 
titulus.  In  A.D.  384  we  have  an  inscription  to  a  Lector 
of  the  titulus  of  Pudens  ;  and  its  titular  presbyter  sub- 

*  See  catacomb  of  Ermete. 

t  Vide  Letter  of  Pius  I.  to  Justus  of  Vienna,  the  Liber  Ponti- 
ficalis,  the  narratives  of  Pastor  and  Timothy,  and  the  Acts  of 
Praxedis. 


THE  CHURCHES  IN  ROME  329 

scribed  in  499  to  the  Acts  of  the  synod  of  Symmachus. 
It  was  known  as  titulus  Pudentis,  Ecclesia  Pudentiana, 
and  titulus  Pudentiana.  The  name  titulus  Pastoris  is 
derived  from  the  brother  of  Pius,  whose  house,  also 
dedicated  as  a  church,  was  incorporated  with  the  titulus 
Pudentis. 

In  the  time  of  Siricius,  a.d.  398,  the  church  was 
restored  by  3  presbyters,  who  left  a  record  of  their 
work  in  an  inscription  on  the  apse.  The  church  was 
again  restored  in  the  viii.  century,  then  by  Hilde- 
brand  in  the  xi''',  under  the  title  of  Pastor  and  the 
Precursor  John ;  then  in  the  xii.  century  ;  and  finally 
in  1597  it  was  reduced  to  its  present  form  by  Cardinal 
Caetani. 

We  descend  from  the  present  Via  Urbana  by  2 
flights  of  steps  to  the  level  of  the  church.  The  fa9ade 
has  a  modem  painting  representing  Peter  in  the  centre, 
with  Pudentiana  and  Gregory  VII.  (Hildebrand)  to  his 
left,  the  latter  wearing  a  red  cap  which  fits  over  the 
ears ;  and  to  the  right  Pudens  and  Pius  I.  This 
fa9ade  was  constructed  by  Cardinal  Bonaparte  from 
the  designs  of  Manno. 

The  church  consists  of  a  nave,  with  14  ancient  gray  Interior, 
columns  which  formerly  divided  it  from  aisles ;  these 
aisles   are   now   made  into    side   chapels.     Over    the 
tribune  there  is  a  beautiful  and  effective  mosaic,  the  The 
finest  in  Rome,  and  the  most  conspicuous  object  in  the  rnosaic  of 
church.     This  mosaic  was  begun,  as   De   Rossi  has        ^P^' 
demonstrated,  at  the  time  of  the  restoration  in  a.d.  398, 
temp.  Siricius,  and  finished  under  Innocent  I.  (402-417). 
It  has  been  frequently  restored. 

In  the  centre  is  our  Lord  enthroned,  below  Him 
are  the  12  Apostles.  Ten  only  remain  to-day  ;  in  1588 
the  two  figures  at  the  extremities  perished  in  cutting 
the  apse,  together  with  the  iv.  century  inscription  of 
the  presbyters  who  restored  the  church !  Christ  is 
seated  on  a  raised  gold  throne ;  near  Him  stand 
Pudentiana  and  Praxedis,  who  place  crowns  on  the 
heads  of  Peter  and  Paul,  Peter  being  to  the  left  and 


330       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Paul  to  the  right  of  the  throne.  Praxedis  crowns 
Paul.  Both  women  are  gorgeously  dressed  in  gold 
and  green  drapery.  The  buildings  represented  are  the 
church  and  houses  in  the  ancient  Vicus  Patricius.  The 
altar-piece  is  a  picture  of  Pomarancio's,  which  repre- 
sents the  2  sisters  gathering  the  blood  of  the  martyrs. 
Pastorus  is  assisting.  Above  is  the  apotheosis  of 
Pudentiana.  The  altar  was  erected  by  Cardinal  Wise- 
man, who  was  titular  of  the  church.  In  the  left  aisle 
is  the  Gaetani  chapel,  with  representations  of  the 
Magi. 

There  are  3  chapels  in  the  right  aisle ;  and  a  chapel 
on  either  side  of  the  high  altar — that  to  the  left  has  a 
marble  representation  of  the  gift  of  the  keys.  In  this 
aisle  is  shown  a  grated  well  where  it  is  said  the  sisters 
Praxedis  and  Pudentiana  collected  the  blood  and  relics 
of  3,000  martyrs.  There  is  a  modern  bronze  tomb 
near  the  entrance  of  the  church  to  the  right,  to  a 
Polish  archbishop  who  was  titular  cardinal  of  this 
edifice,  and  legate  to  France  under  Leo  XIII. 

Feast  day. — May  19. 

The  Station  is  on  the  3rd  Tuesday  in  Lent ;  and  the  Dedica- 
tion of  the  church  is  on  October  20.  It  may  be  seen  at  other 
times  by  application  to  the  custode. 

8.  PUDENTIANA  a  mcmbcr  and  later  the  mistress  of 
that  domtis  Pudentiana  which  is  said  to  have  received 
Peter,  was  already  a  Christian  on  the  apostle's  arrival 
in  Rome.  The  Pudenti  were  connected  with  the 
Corneli-Emilii,  kin  to  the  Cecilii ;  so  De  Rossi  con- 
jectures from  the  monuments.  Since  Pudentiana 
"followed  the  Christian  religion  with  an  admirable 
devotion,"  she  with  her  sister  sold  their  large  patri- 
mony, distributing  the  proceeds  to  the  poor,  and  tended 
the  victims  of  the  Neronian  persecution.  Though  she 
did  not  suffer  death  for  the  faith,  she  is  frequently 
called  a  martyr.  It  is  related  of  her  that  she  converted 
her  whole  household  of  96  men,  whom  she  brought  to 
Pius  I.  in  one  day  for  baptism.  When  by  the  law  of 
the  Antonines  the  public  worship  of  Christians  was 


THE  CHURCHES  IN  ROME  331 

forbidden,  Pudentiana,  it  is  said,  most  lovingly,  henigne,' 
received  the  Christians  and  Pius  into  her  house,  where 
the  divine  worship  was  celebrated,  and  where  she 
lavished  all  things  necessary  to  support  life,  "  In 
these  Christian  offices  of  piety  she  passed  out  of  this 
life  "  and  was  buried  on  the  14th  Kalends  of  June  on 
the  Via  Salaria.  Pius  I,  was  pope  between  145-155 
A.D.,  and  the  late  date  has  induced  the  Bollandists  to 
distinguish  between  the  Pudens  and  Claudia  men- 
tioned by  Paul  in  the  Epistle  to  Timothy,  and  a  son 
or  grandson  Pudeiis  who  lived  in  the  time  of  Pius  I. 
and  was  the  father  of  Pudentiana  and  Praxedis.*  Cer- 
tainly the  story  of  Pudentiana  a  Christian  on  Peter's 
visit  and  assisting  in  the  Neronian  persecution,  does 
not  accord  at  all  with  the  story  of  her  receiving  Pius 
a  century  later.  We  must  choose  between  them.  Per- 
haps the  earlier  works  of  mercy  were  performed  by 
Priscilla  and  Claudia  with  their  children  ;  while  a  later 
Pudens  and  his  wife  Sabinella  were  parents  of  the 
holy  women  who  helped  Pius  and  the  Christians  of 
their  time.  All  accounts  agree  that  both  Praxedis  and 
her  sister  unceasingly  tended  the  victims  of  a  great 
persecution,  and  Antoninus  (138-161)  did  not  persecute. 
It  is  certain  that  perplexity  is  always  arising  in  the 
story  of  the  different  generations  of  these  Roman 
Christians,  who  performed  the  same  works  from  father 
to  son,  from  mother  to  daughter. 

Pudentiana  and  Praxedis  had  two  brothers,  Novatus 
the  founder  of  the  baths  called  by  his  name,  and 
Timothy.  Novatus'  baths  are  said  to  have  been  on 
his  paternal  property,  and  it  is  here  that  the  church  of 
Pudentiana  stands.  +    That  the  latter  was  early  believed 

*  It  is  noteworthy  that  others  call  Pudens'  wife  not  Claudia 
but  Sabinella.  This  is  the  name  of  the  matron  who  founded  the 
catacomb  of  S.  Valentine,  where  Valentine  and  Zeno  sometimes 
called  the  friend  of  Pudens'  daughters,  are  represented  together. 
{Vide  S.  Prassede,  ante.) 

t  Gregorovius  takes  the  view  that  the  church  was  really  built 
on  the  site  of  the  Baths  of  Novatus,  S.  Praxedis  being  on  the 
domestic  site.     Both  are  near  together. 


332 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Present 
excava- 
tions. 


.  to  be  not  only  her  house  but  the  house  of  the  gens 
which  had  received  Peter,  is  evinced  by  the  inscription 
in  the  apse  upon  the  book  Christ  holds  :  Dominus  con- 
servator ecclesicB  Pudentiana,  "  the  Lord,  Preserver  of 
the  Pudentian  church,"  of  the  site  that  is,  where  dwelt 
Priscilla,  her  son  Pudens,  Praxedis,  Pudentiana  and 
the  rest  who  formed  a  church  there  in  the  time  of 
Peter. 

Excavations  now  proceeding  under  the  church  have 
brought  to  light  the  baths  of  a  Roman  house,  the  tes- 
sellated pavement  of  which  shows  it  to  be  of  the  i. 
century.  The  heating  apparatus,  amphorae,  and  other 
objects,  have  been  found.  The  excavation  can  be 
visited,  and  it  is  much  to  be  hoped  will  be  con- 
tinued. 

Pastor,  a  holy  man  who  assisted  the  sisters  in  their 
works  of  piety,  is  also  represented  as  the  brother  of 
Pope  Pius,  and  by  others  as  also  the  author  of  the 
Pastor  of  Hermas.  With  Pudentiana  and  her  sister 
he  daily  braved  the  Roman  law  for  the  sake  of  the 
suffering.  He  wrote  a  narrative  of  the  lives  of  the  two 
sisters. 

SS.  QTIATTRO  COEONATI.  —  This  interesting  church 
upon  the  ridge  of  the  Coelian  near  the  Lateran,  was 
built  in  the  v.  century  in  the  region  then  known  as 
Caput  Africa,  and  upon  some  ancient  ruins.  It  is  pos- 
sible that  an  oratory  existed  upon  this  site  at  an  even 
earlier  period,  as  fragments  of  a  Damasian  inscription 
(iv.  century)  have  been  found  under  the  apse  of  the 
church,  and  some  writers  consider  it  to  have  been 
founded  by  Pope  Melchiades  (311-314). 

It  was  restored  by  Honorius  I.  (625),  and  by  Leo  IV. 
(847)  but  was  destroyed  in  1080  by  Robert  Guiscard. 
In  1 1 12  it  was  once  more  rebuilt  by  Paschal  II.  upon 
a  smaller  scale,  the  original  walls  of  the  right  nave 
now  forming  part  of  the  refectory  of  the  adjoining  con- 
vent, while  some  of  the  columns  of  the  older  building 
still  stand  in  the  second  of  the  two  outer  courts  of  this 
basilica.    This  pope  has  left  an  inscription  stating  that 


THE  CHURCHES  IN  ROME  333 

he  found  the  urns  containing  the  relics  of  the  saints  to 
whom  the  basilica  was  dedicated,  under  the  altar  ;  and 
in  later  restorations  another  relic,  said  to  be  the  head 
of  S.  Sebastian,  was  discovered  enclosed  in  a  silver 
case.  Under  Martin  V.  (141 7)  the  church  was  once 
more  restored,  and  again  under  Pius  IV. 

It  is  now  approached  by  two  outer  courts  ;  its  in-  Interior, 
terior  consists  of  a  nave  divided  from  the  aisles  by  8 
pillars  of  gray  granite.  Above  these  is  a  second  series 
of  smaller  pillars  forming  an  upper  gallery.  The 
wooden  ceiling  dates  from  1580  ;  the  pavement  is  cos- 
matesque  work.  The  confession  in  which  are  kept 
the  relics  of  the  titular  saints  is  reached  by  a  double 
flight  of  steps.  An  ancient  episcopal  chair  is  pre- 
served in  the  tribune,  which  is  decorated  with  fres- 
coes by  Giovanni  di  S.  Giovanni ;  the  ancient  paintings 
of  the  time  of  Paschal  II.  were  destroyed  by  Cardinal 
Millini  in  1624  when  he  restored  the  tribune. 

Popes  Leo  IV.  and  Stephen  VI.  were  elected  to  the 
papacy  in  this  basiUca.  The  adjoining  monastery  long 
belonged  to  Camaldolese  monks,  but  was  in  1560  trans- 
formed into  an  orphanage. 

This  church  is  seldom  open  except  early  in  the 
morning ;  and  for  the  Station  on  the  4th  Monday  in 
Lent. 

Feast  day. — November  8. 

THE  "Fotm  CROWNED  BAiMTs "  are  4  soldicrs  of  the  Dio- 
cletian persecution,  Severus,  Severianus,  Carpophorus, 
and  Victorinus,  brethren,  who  refusing  to  serve  the 
gods  were  beaten  with  lead,  and  their  bodies  thrown 
to  the  dogs.  The  dogs  refused  to  touch  them  ;  and 
the  Christians  eventually  buried  them  on  the  Via 
Labicana.  Their  story  has  been  confused  with  that 
of  the  5  sculptor  martyrs  mentioned  on  p.  404.  De 
Rossi  has  elucidated  the  2  stories,  and  shown  that  the 
bodies  of  the  Eastern  martyrs  were  brought  to  Rome, 
and  laid  near  the  4  Western  martyrs,  and  were  so  seen 
by  VII.  century  pilgrims.  Both  groups  of  martyrs 
were  translated  by  Leo  IV.  to  this  church. 


334       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

OBATOBY  OF  S.  SIL VESTED. — Close  to  the  outer  court  of 
this  basilica  is  the  celebrated  chapel  of  S.  Silvestro, 
built  in  the  xiii.  century,  and  which  has  suffered  little 
alteration  since  that  date.  The  inscription  as  to  its 
dedication  by  the  Bishop  of  Ostia  in  1246  still  exists. 
It  belongs  to  the  Guild  of  Carvers  and  Marble- 
workers,  and  is  decorated  with  frescoes  representing 
the  legendary  life  of  Pope  Sylvester.  The  date  of 
these  (1248)  was  seen  upon  them  by  Seroux  d'Agin- 
court. 

S.  SABBA. — Beyond  S.  Prisca  and  upon  that  slope  of 
the  Aventine  which  is  called  the  "  falso  Aventino,"  is 
situated  this  church,  which  stands  alone  and  isolated. 
It  is  built  upon  or  near  the  site  of  the  house  of  Sylvia, 
mother  of  Gregory,  and  is  mentioned  in  the  pontificate 
of  Leo  III.  (795).  Upon  the  door  still  exists  an  in- 
scription recording  the  work  done  in  the  church  by 
M agister  Jacobus  one  of  the  earliest  of  the  great  Roman 
marble-carvers.  The  inscription  is  of  the  year  1205. 
The  ancient  nave  columns  are  still  in  place  in  the 
church,  but  the  mosaics  have  perished,  and  have 
been  replaced  by  a  bad  painted  copy.  The  adjacent 
monastery  was  originally  held  by  Greek  monks,  and 
was  known  as  the  Cella  Njiova.  It  passed  to  the 
Cistercians  under  Julius  II.,  and  now  belongs  to  the 
Germanic  College. 

Feast  day. — December  5. 

B.  SABBA  was  a  Basilian  monk  who  came  to  Rome 
about  the  year  989  or  991  from  the  "  Patrizio  "  at 
Amalfi.  He  stayed  in  the  convent  of  S.  Cesareo  in 
Palatio  and  died  there. 

S.  SABINA  was  built  among  the  ruins  of  ancient 
temples  which  in  the  days  of  pagan  Rome  crowned 
the  Aventine,  and  it  fronted  upon  a  road  which  led 
from  the  river  bank  to  the  Porta  Trigemina. 

In  the  middle  ages  a  forest,  largely  composed  of 
laurel  trees,  covered  the  hill,  and  here,  in  the  convent 
attached  to  the  church.  Pope  Silverius  secluded  him- 


THE  CHURCHES  IN  ROME  335 

self  during  the  Gothic  war  (536).  Honorius  III.  en- 
larged this  ancient  building,  and  fortified  it  with  walls 
and  towers,  of  which  traces  still  remain,  giving  it  later 
to  the  Dominican  monks  of  S.  Sabina  (12 16- 1227). 
Here  Honorius  IV.  (1285-1288)  lived  and  died,  and 
here  after  his  death  was  held  the  memorable  conclave 
which  lasted  for  over  a  year.* 

The  basilica  of  S.  Sabina  was  built  in  the  reigns  of 
Celestine  I.  (423)  and  Sixtus  III.  (432)  by  a  priest 
called  Peter,  an  Illyrian ;  and  was  restored  by 
Gregory  II.  (715)  Leo  III.  (795)  Eugenius  II.  (824) 
and  Gregory  IX.  (1227).  Its  primitive  type  was  lost 
during  restorations  undertaken  by  Sixtus  V.,  and  in 
this  century,  Signor  Armellini  f  records,  the  slabs  form- 
ing the  altar,  and  other  treasures,  were  sold  by  the 
vicar  general  of  the  Dominicans  ! 

The  basilica  has  two  entrances.  That  to  the  side 
was  originally  flanked  by  the  two  pillars  of  verde  antico 
now  in  the  Chiaramonte  museum  of  the  Vatican.  The 
other  and  main  entrance  is  now  within  the  convent 
buildings.  It  was  preceded  by  a  portico  of  8  columns.  Portico, 
four  of  them  of  fluted  white  marble.  From  the  portico 
three  entrances  led  into  the  nave  and  two  aisles  of  the 
church.  Only  the  central  entrance  now  remains,  with 
door-jambs  of  carved  marble  of  the  xiii.  century. 
The  doors  themselves,  of  cypress  wood,  are  of  the  Doors, 
same  period  as  the  church,  namely  of  the  v.  century. 
They  are  divided  into  14  panels,  in  rows  of  four  with 
two  small  ones  below,  each  panel  surrounded  with  rich 
ornamentation  of  fruit  and  leaves.  The  panels  carved 
in  deep  relief  represent  scenes  in  the  Old  and  New 
Testaments,  that  at  the  top  and  to  the  extreme  left 
being  one  of  the  earhest  representations  of  the  Cruci- 
fixion. Over  the  door  on  the  inside  is  a  great  mosaic  interior, 
inscription  upon  a  blue  ground  recording  the  founda- 
tion of  the  basilica  by  Peter  the  Illyrian.  On  either 
side  of  the  letters  are  two  figures  of  women  wearing 
stoles,  and  holding  open  books.  Beneath  are  the  words 
*  See  Part  IV.  t  Chiese  di  Roma. 


336       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

"  Ecchsia  ex  Circumcisione  "  and  "  Ecclesia  ex  Genttbus." 
The  symbols  of  the  EvangeHsts  which  were  depicted 
above  have  now  disappeared. 

Between  nave  and  aisles  are  24  ancient  columns  of 
white  marble  with  Corinthian  capitals  and  supporting 
low  arches.  The  fronts  of  these  are  decorated  with 
mosaic  of  porphyry  and  serpentine.  The  wooden  roof 
of  nave  and  aisles  has  been  fortunately  retained.  The 
mosaics  of  the  tribune  and  arch  have  perished. 

Nave.  Within  the  doors  are  some  interesting   pavement 

tombs,  that  nearest  to  "  Domina  Stephenia  Deisula, 
Genera,  ospita  ordinis  Prsedicatorum,"  and  the  date 
1303  ("guest  of  the  order  of  Preachers").  Another 
with  the  arms  in  mosaic  "  Nobilis  D"»  D°^  Perna  " 
wife  of  one  of  the  Sabelli ;  and  on  the  other  side  with 
the  arms  quartered,  "  D"*  Odilenna "  wife  of  the 
English  Lord  Demantella,  and  daughter  of  the  Norman 
Montemarci.  The  date  of  this  is  illegible.  Beyond 
is  the  beautiful  tomb  decorated  with  mosaic  of  Munio 
da  Zamora,  general  of  the  order  under  Boniface  VIII. 
(1295).  Close  by  a  black  stone  is  shown  upon  a 
pedestal  which  S.  Dominic  is  said  to  have  thrown  at 
the  devil. 

The  tribune  is  raised  some  feet  above  the  nave,  but 
the  marble  carving  with  which  it  was  decorated  has 

Confes-      perished.    In  the  confession  lie  the  bodies  of  S.  Sabina 

sion.  and  Seraphia  removed  from  the  catacomb  of  Alex- 

ander, as  the  inscription  states.  To  the  left  of  the 
tribune  is  a  handsome  little  tabernacle  for  the  sacred 
oils. 

Right  In  the  right  aisle  a  chapel  of  S.  Hyacinth  is  deco- 

rated with  paintings  by  Zucchero,  and  at  the  extremity 
of  this  aisle  is  the  chapel  of  the  Rosary  with  a  beauti- 
ful altar-piece  of  the  Madonna  with  S.  Dominic  and 
S.  Catherine,  by  Sassoferrato.  To  the  right  of  it  is  the 
XV.  century  tomb  of  a  cardinal  of  the  Poddi  family 
with  the  inscription  :  Ut  moriens  viveret  vixit  ut  mori- 
turus,  and  above  a  bas-relief  of  the  Madonna  between 
SS.  Catherine  and  Sabina. 


aisle. 


THE  CHURCHES  IN  ROME  337 

A  chapel    decorated   by  Odazzi    and   dedicated   to  Left  aisle. 
S.  Catherine  opens  out  from  the  left  aisle,  and  here 
are  monuments  to  members  of  the  Order. 

This  year  (1896)  through  the  initiative  of  Professor  Recent 
Bacelli,  a  great  portion  of  the  marble  screen  placed  by  dis- 
Eugenius  II.  round  the   choir   has   been  discovered,  covenes. 
The   slabs   of    marble   which    are    among    the    best 
examples  of  the  ix.  century  carving,  are  now  fixed  to 
the  wall  of  the  left  aisle.     They  had  been  used  as 
paving  stones  and  to  form  the  steps  of  the  tribune  in 
the  restorations  under  Sixtus  V.,  and  all  trace  of  them 
had  disappeared.     Portions  have  also  been  found  of  a 
more  ancient  balustrade,  the  carving  of  which  is  much 
rougher,  and  this  may  possibly  date  from  the  restora- 
tions of  Leo  III. 

Attached  to  the  church  is  the  monastery  granted  by  Monas- 
Honorius  III.  to  S.  Dominic,  and  where  he  lived  for  tery. 
many  years.  An  orange  tree  said  to  have  been  planted 
by  him  is  still  shown  in  the  garden.  The  cloisters 
which  are  of  the  xiii.  century  are  now  the  property 
of  the  neighbouring  blind  school,  and  are  no  longer 
visible.  S.  Dominic's  room  in  the  convent  was  made 
into  a  chapel  by  Clement  IX.,  and  is  shown  to  visitors, 
with  that  of  the  Dominican  pope  Pius  V. 

Feast  day. — August  29.  Of  the  dedication  of  the  church  ;  Oc- 
tober 15. 

It  is  open  for  the  Station  on  Ash  Wednesday,  a  day  fixed  by 
Gregory  the  Great.  The  great  Dominican  feasts  are  also  kept 
here  (see  p.  285). 

s.  SABDTA  was  a  Roman  matron  of  noble  birth,  wife 
of  Valentinius  the  senator.  Little  is  known  of  her. 
She  was  converted  to  Christianity  by  a  Greek  virgin, 
her  slave  Seraphia,  and  after  the  martyrdom  of  the 
latter,  Sabina  buried  her  body.  This  brought  her 
before  the  Emperor  Hadrian,  and  after  being  subjected 
to  menaces  and  temptations  all  of  which  she  resisted 
with  unswerving  fortitude,  she  was  sentenced  to  decapi- 
tation. Her  body  was  buried  by  the  Christians  in 
the  same  grave  with  Seraphia. 

22 


338       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

S.  8EBA8TIAN0  BELLA  POLVEEINA  on  the  Palatine  hill  is 
a  very  ancient  church.  It  is  first  mentioned  at  the  end 
of  the  X.  century,  but  it  is  not  unlikely  that  it  dates 
from  the  age  of  Constantine.  It  is  said  to  have  been 
erected  on  the  site  where  Sebastian  suflfered  martyr- 
dom, but  in  the  middle  ages  it  was  indifferently  called 
S.  Sebastiano  and  S.  Maria.  During  this  period  the 
Cassinese  monks  possessed  the  church  and  built  a 
monastery  adjoining.  Here  Gelasius  II.  was  elected 
pope  in  1 1 18.  Of  the  ancient  decorations  of  the  church, 
there  remain  those  of  the  apse  and  some  remnants  on 
the  great  arch.  The  other  paintings  of  saints  which 
covered  the  walls  were  destroyed  by  Urban  VIII.  At 
that  date  the  church  was  already  ruinous  from  great 
age,  and  was  used  as  a.  dwelling  for  the  peasants  of 
the  Barberini  vineyard. 

The  paintings  of  the  apse  represent  the  Redeemer 
between  four  saints,  Laurence,  Stephen,  Sebastian  and 
Zoticus,  the  two  latter  dressed  in  the  costume  of  the 
Palatine  guard  of  the  v.  century.  An  inscription  below 
states  that  the  painter  was  "  Petrus  illustris  medicus.'' 
He  used  to  appear  in  the  painting  offering  the  church 
to  S.  Sebastian,  while  his  wife  offered  gifts  to  Zoticus  ; 
but  these  figures  have  perished.  The  figures'  on  the 
lower  part  of  the  apse  are  of  a  later  date.  Copies  of 
the  destroyed  frescoes  of  the  walls  were  preserved  in 
the  Barberini  Library,  and  have  been  replaced  in  the 
church. 

Feast  day. — January  20. 

For  the  account  of  the  Saint,  see  p.  138. 

S.  SILVESTBO  IN  BIBEEATICA  upon  the  Quirinal  derives 
its  appellation  from  the  mediaeval  name  of  the  contrada. 
The  church  is  mentioned  in  Camerarius'  catalogue, 
and  is  therefore  anterior  to  the  xiii.  century.  It  was 
restored  in  the  xvi.  century,  and  a  new  fa9ade  has 
been  added  lately,  with  a  flight  of  steps  within  the 
building  leading  up  to  the  church,  the  level  of  the 
street  having  been  lowered.  The  convent  adjoining, 
once   occupied  by  Dominicans,  now  belongs   to   the 


THE  CHURCHES  IN  ROME  339 

missionary  fathers.  The  dome  of  the  church  is 
decorated  with  frescoes  by  Domenichino,  representing 
David,  Solomon  and  the  Queen  of  Sheba,  Judith,  and 
Esther.  There  are  also  two  landscapes  of  Caravaggio's 
in  the  second  chapel  on  the  left.  The  ceiling  of  this 
chapel  is  painted  by  Cav.  d'  Arpino.  The  Assump- 
tion at  the  high  altar  is  by  Scipione  Gaetani. 

8.  8ILVESTE0  IN  CAPITE. — Where  this  church  now 
stands  in  the  Piazza  S.  Silvestro,  Paul  I.  (757-767) 
built  a  monastery  upon  the  site  of  his  paternal  house, 
and  dedicated  it  to  the  popes  Stephen  and  Sylvester. 
In  the  oratory  of  this  monastery,  which  was  also 
dedicated  to  S.  Denis,  he  placed  the  bodies  of  these 
saints.  Later  he  built  a  church  attached  to  the 
monastery,  with  the  same  dedication,  and  here  he 
removed  the  bodies  of  Sylvester  and  Stephen,  and  the 
relics  of  over  100  martyrs  from  the  catacombs.  A  list 
of  these  relics  is  still  attached  to  the  outer  wall  of  the 
church,  the  names  of  the  women  saints  in  one  portion, 
the  names  of  the  men  in  another ;  a  list  which  is 
referred  to  with  the  name  of  the  pope  and  the  date,  in 
an  inscription  in  the  crypt  of  S.  Peter's.  This  may 
probably  be  the  first  church  to  which  the  relics  of 
martyrs  were  removed  from  the  catacombs. 

The  earliest  name  by  which  this  church  was  known 
was  cata  Pauli,  referring  to  its  origin,  and  probably 
contemporaneous  with  it.  Later,  the  names  of  Stephen 
and  Denis  fell  out  of  use,  and  the  church  was  known 
as  S.  Silvestro  as  at  present  ;  the  term  in  Capite  being 
adopted  in  the  xiii.  century,  after  the  head  of  John 
the  Baptist  was  removed  to  it. 

S.  Silvestro  was  enriched  and  endowed  by  Nicholas  L 
(858),  and  was  rebuilt  by  Innocent  III.  (1198-1216). 
The  campanile  is  of  this  date.  Being  again  in  a 
ruinous  condition,  it  was  reduced  to  its  present  form 
by  Clement  VII.  (1523)  and  Clement  XI.  (1700). 

It  retains  an  ancient  basilica  court  and  portico,  in  Interior, 
which  are  preserved  some  ancient  inscriptions.     The 
interior  is  entirely  modern.    It  consists  of  a  single  nave 

22 — 2 


340       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

with  three  chapels  on  either  side  and  a  small  transept. 
In  the  lunette  over  the  high  altar  is  a  painting  of  Con- 
stantine's  baptism  by  Sylvester. 

In  the  sacristy  some  xiv.  century  frescoes  from  the 
monastery  are  preserved. 

Up  to  the  XIII.  century  this  convent  was  occupied 
by  Greek,  and  later  by  Benedictine  monks.  After 
that  date  it  was  given  to  Clarisses  nuns.  It  was  sup- 
pressed by  the  present  Government,  and  is  now  used 
for  the  chief  post  and  telegraph  offices. 

The  Antonine  column  of  Monte  Citorio  belonged  to 
the  monastery  of  S.  Silvestro  from  the  x.  century.  An 
inscription  referring  to  it  is  preserved  in  the  portico. 

The  church  is  now  under  the  care  of  English  Pal- 
lotini,  who  live  in  a  part  of  the  old  monastery  building, 
and  it  has  been  recently  constituted  a  parish  church 
for  the  Catholic  English  in  Rome. 

Feast  day. — December  31. 

The  Station  is  on  the  5th  Thursday  in  Lent. 

s.  SYLVESTER  was  thc  popc  of  "  the  Peace,"  being 
Bishop  of  Rome  in  Constantine's  time.  He  was  a 
Roman,  and  occupied  the  papal  see  for  23  years  from 
314.  During  his  pontificate  the  basilicas  of  the 
Lateran  and  the  Vatican  were  founded.  A  legend 
declares  that  he  baptized  Constantine,  and  the  por- 
phyry font  in  the  Baptistery  of  the  Lateran  is  pointed 
out  as  the  scene  of  the  baptism.  According  to  another 
legend,  Constantine  made  to  the  pope  the  celebrated 
donation  of  Rome,  when  he  himself  went  to  found  the 
new  Rome  at  Constantinople.  These  relations  of 
Sylvester  and  the  Emperor  Constantine  are  popular  in 
art.  Constantine  is  supposed  to  have  been  ordered  a 
bath  of  children's  blood  to  cure  him  of  his  leprosy, 
but  moved  by  pity  he  commanded  the  children  to  be 
■  restored  to  their  mothers,  and  that  night  Peter  and 
Paul  appeared  to  him  in  a  vision.  Sylvester  who  was 
in  hiding  in  a  cave  owing  to  the  persecutions,  was  sent 
for  to  interpret  this  vision,  and  Constantine's  conver- 
sion and  baptism  followed,  when  his  leprosy  was  healed. 


THE  CHURCHES  IN  ROME  341 

Other  stories  are  related  of  Sylvester  :  his  subduing 
a  dragon  in  the  name  of  Christ,  which  lived  in  a  moat 
and  destroyed  many  men  every  day  ;*  how  he  silenced 
in  argument  the  two  Greek  philosophers  Crato  and 
Zeno,  brought  against  him  to  satisfy  the  Empress 
Helena  ;  and  how  he  brought  to  Hfe  a  wild  bull  killed 
by  the  whispered  words  of  a  magician. 

Sylvester  was  present  at  the  Council  of  Nicaea,  and 
upon  his  death  was  buried  in  the  catacomb  of  Priscilla. 

In  art,  he  is  represented  in  pontifical  robes  and 
wearing  the  mitre  or  tiara  ;  beside  him  is  a  crouching 
bull,  or  a  dragon  ;  sometimes  he  carries  busts  of  the 
two  apostles  Peter  and  Paul,  and  he  holds  a  book 
and  crozier. 

S.  8IST0  upon  the*  Via  Appia  and  opposite  the 
Baths  of  Caracalla,  is  the  ancient  Tituhis  Tigridis  and 
seems  to  have  been  built  by  a  Roman  woman  of  this 
name.  The  names  of  the  priests  of  this  title  appear 
among  the  synodal  subscriptions  of  499,  and  the 
church  is  mentioned  by  Gregory  the  Great  in  one  of 
his  dialogues.  Little  is  known  of  its  origin  or  early 
history.  It  was  rebuilt  by  Innocent  III.  (1198)  and 
was  conferred  upon  S.  Dominic  and  his  order  by 
Honorius  III.  (1216).  When  these  'monks  were 
moved  to  S.  Sabina  in  12 19,  Dominican  nuns  took 
possession  of  the  building  and  there  remained  until 
the  pontificate  of  Pius  V.  when  they  moved  to 
SS.  Domenico  e  Sisto  on  the  Quirinal.  A  portion  of 
the  old  building  near  S.  Sisto  still  remains,  wath  a 
chapel  dedicated  to  S.  Dominic  decorated  with  frescoes, 
though  it  is  appropriated  by  the  Italian  Government. 

The  church  of  S.  Sisto  has  been  restored  and 
modernized  in  recent  years  by  Cardinal  Boncompagni. 
A  community  of  Dominican  nuns  still  resides  in  a 
portion  of  the  monastery  building.  The  Italian 
Government  uses  its  grounds  and  orchards  as  nursery 
gardens. 

The  bodies  of  Pope  Zephyrinus,  Antheros,  and 
*  See  S.  Maria  Liberatrice. 


342       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Felix   lie   in   this   church,   with   the   relics   of  many 
martyrs. 

Feast  day. — August  6. 

The  Station  is  on  the  4th  Wednesday  in  Lent. 

For  S.  Sixtus,  see  Chap.  X. 

S.  SPIRITO  IN  SA8SIA.— The  history  of  this  church 
should  have  an  especial  interest  for  the  English,  as  it 
was  built  in  the  viii.  century  by  Ina  King  of  Wessex,* 
and  was  attached  to  the  schola  or  settlement  of  the 
Anglo-Saxons.  The  whole  region  upon  the  river 
bank  from  S.  Peter's  to  the  bridge  has  ever  since 
retained  the  name  of  SassiaA 

The  original  church  was  burnt  down  under  Paschal  I. 
in  the  ix.  century,  and  when  again  built  was  almost 
destroyed  during  the  Saracenic  invasion.  Innocent  III. 
once  more  rebuilt  it,  and  the  hospital  annexed  to  it 
was  given  into  the  care  of  the  hospitallers  of  S.  Spirito. 
It  was  finally  restored  from  Sangallo's  designs  under 
Paul  III.,  a  new  fa9ade  being  added  by  Sixtus  V. 

It  now  contains  little  of  interest.  The  tribune 
frescoes  and  the  picture  in  the  Jirst  chapel  to  the  right 
are  by  Zucca.  The  painting  in  the  Jirst  to  the  left  is 
by  Pierin  del  Vaga.  The  fine  ciborium  is  said  to  be 
the  work  of  Palladio. 

S.  STEFANO  DEGLI ABI88INI. — This  little  church  behind 
the  tribune  of  S.  Peter's  is  probably  all  that  remains  of 
a  famous  monastery  of  S.  Stefano  which  was  founded 
by  Leo  I.  (441)  in  the  Vatican  district.  It  was  one  of 
four  grouped  round  old  S.  Peter's  ;  and  as  two  of  these 
had  the  some  dedication,  it  was  distinguished  as 
S.  Stefano  Maggiore. 

Galla  Placidia  probably  enriched  the  convent  as  her 
name  appears  with  it  in  more  than  one  entry  in  the 
Liber  Pontificalis  and  elsewhere. 

The  church  and  monastery  were  enriched  and 
endowed  by  Paschal  I.,  and  Sixtus  IV.  restored  them 

•  Ob.  in  Rome,  a.d.  727. 

t  De  Waal,  "  /  luogi  pti  del  Vaticano." 


THE  CHURCHES  IN  ROME  343 

and  bestowed  them  upon  the  Abyssinian  monks.  These 
monks  have  remained  in  possession  with  a  temporary 
break  until  now.  A  hospital  for  Abyssinians  was 
annexed  to  the  monastery  in  1159,  and  the  church  was 
popularly  called  S.  Stefano  in  Egitto,or  "of  the  Moors." 

The  church  still  contains  some  Arabic  and  ^Ethiopian 
inscriptions,  and  some  fine  marble  carved  door-jambs. 

S.  STEFANO  KOTONDO. — This  interesting  church  on  the 
Ccelian  Hill  was  long  supposed  to  be  an  adaptation  of 
some  pagan  building,  a  temple  of  Faunus  or  Bacchus,  or 
the  meat  market  of  Nero.  Recent  publications  of  De 
Rossi,*  and  an  account  of  the  church  by  Terribilini, 
lately  found  and  edited  by  the  former,  show  it  to 
have  been  a  Christian  edifice  of  the  v.  century,  a  fact 
first  recognised  by  Huebsch,t  and  supported  by  the 
entries  in  the  Liber  Pontificalis,  which  state  that  the 
basilica  of  S.  Stephen  was  dedicated  by  Pope  Simplicius 
(468-482),  and  completed  by  John  I.  (523-526).  The  fact 
oif  its  foundation  as  a  Christian  edifice  was  also  recorded 
in  an  inscription  in  the  church  itself,  seen  by  the 
anonymous  Einsiedeln  writer  of  the  viii.  century. 

S.  Stefano  is  built  in  the  form  of  a  circular  basilica. 
Its  original  extent  was  considerably  greater  than  at 
present,  as  the  pillars  now  built  into  the  outer  wall 
formed  a  second  circle  standing  free  round  the  entire 
basilica  have,  while  its  outer  wall  was  several  feet 
beyond.  This  change  was  effected  by  Nicholas  V. 
in  the  xv.  century.  The  church  was  approached  by 
a  portico,  which  is  now  the  chapel  of  SS.  Primus  and 
Felicianus,  and  it  was  preceded  by  a  magnificent 
piazza,  and  porticoes  adorned  with  mosaics  of  the 
time  of  Felix  IV.,  while  as  we  learn  from  visitors  to 
the  church  in  the  xv.  century  its  interior  was  rich  in 
mosaic  and  precious  marbles. 

In  the  VII.  century  Pope  Theodore  removed  to 
this  basilica  the  bodies  of  the  martyrs  Primus  and 
FeHcianus,  and  to  make  a  fitting  shrine  the  portico  of 

•  Studi  e  Documenti  di  Storia  e  Diritto,  a.  vii.,  1886. 
t  Christlichen  Kitchen,  36. 


344        CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Portico. 


the  church  was  transformed  into  an  apse,  which  can 
still  be  seen  decorated  with  mosaics  of  this  epoch. 
The  new  entrance  was  constructed  at  this  date,  and 
the  present  portico  was  probably  added  in  the  xii. 
century. 

In  this  vestibule  is  preserved  a  marble  seat  in 
which  S.  Gregory  is  said  to  have  read  his  fourth 
Homily,  as  we  read  in  the  inscription  above  it. 
Interior.  The  inner  circle  of  columns  are  20  in  number  of  gray 
granite  with  Ionic  capitals.  These  support  the  wall 
pierced  with  windows,  and  the  wooden  roof.  Owing  to 
the  great  diameter  of  this  church,  additional  strength 
is  given  to  the  roof  by  a  brick  wall  supported  upon 
pier^andtwo  Corinthian  pillars,  placed  diagonally  across 
the  inner  circle.  Thirty-six  columns  are  built  into 
the  outer  wall.  Eight  of  these  are  of  marble  Avith 
Corinthian  capitals,  four  of  them  before  the  chapel  of 
SS.  Primus  and  Felicianus,  and  four  in  a  corresponding 
position  at  the  opposite  side  of  the  church.  The  rest 
are  of  granite  with  Ionic  capitals. 

The  chapel  of  SS.  Primus  and  Felicianus  is  now  to 
the  left  on  entering.  The  mosaics  of  the  apse,  which 
are  of  the  vii.  century,  show  the  jewelled  cross  with 
the  head  of  the  Saviour  above,  and  saints  on  either 
side.  The  paintings  in  this  chapel  represent  scenes  in 
the  life  of  the  two  saints  Primus  and  Felicianus.  In 
the  next  chapel  are  some  modern  paintings,  and  a  fine 
sepulchral  monument  to  one  "  Bernadino."  Here  also 
is  a  hagioscope  from  the  gallery  above. 

The  walls  of  the  basilica  are  painted  by  Pomarancio 
and  Mattei  of  Siena  with  a  ghastly  series  of  martyr- 
doms, arranged  in  chronological  order.  In  the  centre  of 
the  basilica  is  a  tabernacle  surrounded  by'a  balustrade, 
in  bad  taste  and  out  of  keeping  with  the  rest  of  the 
church.     Here  are  kept  relics  of  S.  Stephen. 

S.  Stefano  belonged  to  secular  clergy  until  the 
XV.  century.  Nicholas  V.  then  gave  it  to  the  Hun- 
garian and  Dalmatian  monks  of  the  order  of  Paul  the 
Hermit.     These  were  turned  out  by  Gregory  XIII., 


Chapel 
ofSS. 
Primus 
and  Fell 
cianus. 


THE  CHURCHES  IN  ROME  345 

and  the  church  was  given  to  the  Jesuits  of  the  German 
college,  who  still  possess  it. 

Feast  day. — December  26. 

The  Station  is  on  the  6th  Friday  in  Lent. 

s.  sTEPHEw  the  Protomartyr,  one  of  the  earliest 
evangelists,  and  one  of  the  first  "  Seven  "  Deacons, 
was  like  the  other  six  a  Grecian  Jew,  and  has,  like 
these,  a  Greek  name  (Acts  vi.).  His  memory  has 
always  been  singularly  honoured.  His  sarcophagus  is 
now  shown  at  S.  Lorenzo  outside  the  walls,  whither  it 
was  brought  from  Constantinople  ;  one  of  those  legends 
so  dear  to  ruder  ages  declaring  that  when  attempts 
were  made  to  move  the  body  of  Laurence  promised  in 
exchange,  it  was  found  impossible  to  do  so,  and  it  thus 
"miraculously"  remained  with  those  who  had  under- 
taken to  cede  it.  The  original  finding  of  this  great  saint's 
remains  is  also  fabulous.  In  the  time  of  the  younger 
Theodosius  (415)*  a  figure  calling  itself  Gamaliel  ap- 
peared to  a  presbyter  of  Jerusalem,  informing  him 
that  his  own  body,  with  those  of  his  son,  of  his  friend 
Nicodemus,  and  of  Stephen,  were  buried  in  the  adjoin- 
ing field  ;  a  field  in  the  village  where  this  favoured 
person  was  presbyter.  Oth^r  visions  followed.  The 
ground  was  opened  by  the  bishop,  and  all  the  coffins 
were  found ;  the  body  of  Stephen  being  removed  to 
Mount  Sion.  According  to  the  Breviary,  Theodosius 
the  younger  thence  removed  the  body  to  Constantinople ; 
it  was  removed  to  Rome  in  the  pontificate  of  Pelagius 
who  placed  it  in  agro  Verano,  where  it  still  is.  Augustine 
cites  in  the  "  City  of  God  "  a  whole  series  of  marvels 
wrought  by  virtue  of  these  remains. 

8.  SUSANNA  in  the  Piazza  S.  Bernardo  is  a  church 
of  very  ancient  foundation,  although  it  has  been  com- 
pletely rebuilt  at  various  times,  and  as  late  as  the  year 
1693.  It  is  said  by  tradition  to  have  been  built  upon 
the  site  of  the  house  of  Gabinius,  father  of  Susanna, 
and   is   first   mentioned   in  497  as  the   "  titulus "   of 

*  Or  of  Honorius,  some  few  years  earlier, 


346       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

S.  Gabinius  and  Susanna.  Close  by  was  the  house  of 
Gabinius'  brother  Caius  the  pope  (283-296)  and  hence 
the  church  of  S.  Susanna  is  early  spoken  of  as  "  ad 
duas  domos,"  and  is  so  described  in  an  inscription  of 
Pope  Sergius  I.  (687)  which  was  lost  during  the 
restorations  of  the  xvii.  century. 

Sergius  was  titular  priest  of  this  basilica.  It  was 
restored  by  Adrian  I.  (771),  and  almost  rebuilt  by 
Leo  III.  in  800.  In  this  church  the  latter  conferred 
with  Charlemagne,  and  mosaics  placed  in  the  tribune 
in  honour  of  the  event  existed  until  recently. 

The  church  was  again  restored  by  Sixtus  V.,  and 
rebuilt  in  1693  by  Cardinal  Rusticucci.  Its  fa9ade  is 
by  Maderno.  The  choir  is  decorated  with  frescoes  by 
Cesare  Nebbia,  who  also  painted  the  picture  in  the 
chapel  in  the  left  transept,  built  in  honour  of  S.  Lorenzo 
by  the  sister  of  Sixtus  V. 

Recent  excavations  under  the  confession,  where  the 
body  of  Susanna  lies,  have  brought  to  light  the  remains 
of  a  Roman  house  of  the  in.  century,  with  traces  of 
frescoes  and  tessellated  pavement  of  this  date. 

Feast  day. — August  11. 

The  church  is  open  for  the  "  Station  "  on  the  4th  Saturday  in 
Lent.     It  is  attached  to  a  convent  of  Cistercian  nuns. 

s.  suBAHHA,  virgin  and  martyr,  was  a  Roman  of 
noble  birth,  daughter  of  the  presbyter  Gabinius,  and 
related  to  the  Emperor  Diocletian.  She  was  a  learned 
and  beautiful  girl,  and  Diocletian  wished  to  marry  her 
to  his  son  Maxentius.  Susanna  had  secretly  vowed 
herself  to  Christ,  and  refused  every  offer  of  the 
emperor's.  As  threats  were  also  of  no  avail,  she  was 
killed  in  her  own  house  by  order  of  the  emperor,  on 
August  II,  290.  She  was  the  principal  means  of 
converting  her  relatives  Claudius,  Prepedigna,  and 
Maximus.  "  My  brother  Caius,"  said  Claudius,  "  the 
bishop  and  the  priest  Gabinius  persuaded  me  to 
become  a  Christian,  but  more  than  them  all  the  maiden 
(Susanna)." 

These  things  being  told  to  Diocletian,  led  to  the 


THE  CHURCHES  IN  ROME  347 

martyrdom  of  the  other  members  of  Susanna's  family. 
After  the  latter's  martyrdom,  it  is  said,  the  Empress 
Severa  came  to  her  house  on  the  Quirinal,  and  anointed 
and  buried  her  body  in  the  cemetery  of  Alexander, 
from  whence  it  was  removed  to  this  church. 

S.  TEODOEO.— This  circular  church  under  the  slopes 
of  the  Palatine,  is  mentioned  as  a  diaconate  in  the 
time  of  Gregory  the  Great  (590-604).  It  is  built  upon 
the  ruins  of  some  ancient  temple.  It  was  rebuilt  by 
Nicholas  V.  (1447),  who  however  did  not  disturb  the 
mosaics  of  the  ancient  tribune,  although  he  probably 
added  the  figure  of  Theodore  which  is  more  modern. 
The  date  of  these  mosaics  is  uncertain  ;  they  may  be 
contemporaneous  with  those  of  SS.  Cosma  and  Damian, 
namely  of  the  vi.  century.  They  represent  Christ 
seated  on  the  globe  holding  a  gemmed  cross.  His  right 
hand  raised  in  benediction.  On  either  hand  stand 
Peter  and  Paul,  Peter  holding  the  lamp  ;  beside  him 
S.  Theodore.     Beside  Paul,  S.  Cleonicus. 

This  church  is  popularly  called  S.  Toto,  and  the 
Roman  mothers  bring  their  sick  children  here  to  obtain 
the  intercession  of  the  titular  saint  for  their  recovery. 
Up  to  the  XVI.  century,  the  celebrated  bronze  wolf, 
now  on  the  Capitol,  was  kept  in  this  church.  In  1674 
it  was  restored  by  Cardinal  Barberini,  and  Clement  XI. 
cleared  away  the  soil  round  it  to  save  it  from  damage 
by  debris  from  the  Palatine.  An  ancient  library  was 
attached  to  S.  Teodoro,  which  disappeared  during  the 
sack  of  Rome  in  1526. 

In  the  XVI.  century  this  church  possessed  a  chapter 
of  canons.     It  is  now  officiated  by  a  confraternity. 

Feast  day. — November  9. 

B.  THEODORE.-The  saiut  to  whom  this  church  is  dedi- 
cated was  a  military  saint  of  the  type  of  Sebastian  and 
George.  He  was  a  soldier  of  high  rank  in  the  army 
of  the  Emperor  Licinius,  but  being  a  Christian  he  was 
beheaded  and  burnt  under  Maximian  in  300.  He  was 
the  patron  saint  of  Venice  before  S.  Mark.     S.  Teodoro 


348       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

is  represented  as  a  Roman  soldier  with  a  dragon  at 
his  feet.  In  Venice  a  crocodile  crouches  beside  him. 
He  appears  sometimes  on  horseback  with  a  sword  and 
palm. 

S.  TOMMASO  IN  FORMIS  on  the  Coelian,  is  a  little 
church  at  one  time  attached  to  one  of  the  great  abbeys 
of  Rome,  that  of  the  Trinitarians  for  the  redemption 
of  slaves.  Only  the  ruins  of  the  monastery  now  remain 
with  its  great  doorway,  above  which  is  a  mosaic  of  the 
Saviour  between  a  black  and  a  white  slave.  This 
mosaic  was  the  work  of  the  Cosmati,  and  bears  their 
name. 

The  church  probably  dates  from  the  xi.  century, 
but  its  paintings  or  mosaics  have  been  covered 
with  whitewash,  and  it  contains  now  nothing  of 
interest. 

The  abbey  was  conferred  upon  John  de  Matha  by 
Innocent  X.  for  his  order,  and  after  his  death  his  body 
was  laid  in  the  church,  and  was  there  venerated  until 
the  XVII.  century,  when  it  seems  to  have  been  moved 
to  Spain. 

The  little  church  stands  close  to  the  so-called  arch 
of  Dolabella  and  Silanus,  built  by  these  consuls  in 
A.D.  lo,  and  above  which  is  the  room  inhabited  by 
John  de  Matha  which  can  be  visited  on  February  8, 
his  feast  day. 

8.  THOMAS,  APOSTLE,  was  sumamed  Didymus  (twin).  In 
art  his  doubt  of  the  Resurrection  is  often  depicted. 
Legend  tells  us  that  "  doubting  Thomas  "  would  not 
believe  the  assumption  of  Mary,  and  that  when  he 
went  to  look  into  her  tomb,  she  threw  down  her  girdle 
to  him,  taking  pity  on  his  want  of  faith.  This  pretty 
fairy-tale  is  frequently  represented  in  pictures  of  the 
Assumption,  or  of  Mary's  coronation,  when  Thomas 
forms  part  of  the  group  on  earth  holding  the  girdle  in 
his  hand.  This  Apostle  is  supposed  to  have  preached 
the  faith  in  many  distant  regions,  and  among  the 
Indians,  and  to  have  suffered  a.d.  57. 


THE  CHURCHES  IN  ROME  349 

SS.  TEIlflTA  DE'  MONTI  at  the  summit  of  the  Spanish 
Steps,  was  built  in  1493  at  the  expense  of  Charles  VIII. 
of  France,  as  a  convent  for  Minimite  monks.  Louis  XII. 
and  Henry  II.  and  III.  continued  to  contribute  to  the 
church,  while  many  Roman  families  decorated  chapels 
within  it.  It  remained  in  the  possession  of  the  Minimite 
order  until  1798.  It  was  plundered  and  spoilt  during 
the  French  Revolution,  but  was  restored  in  1816  by 
Louis  XVIII.  It  is  now  owned  by  the  nuns  of  the 
Sacre  Cceur,  who  keep  a  large  girls'  school. 

The  interior  of  the  church,  a  nave  without  aisles,  is  chapels, 
divided  into  two  by  the  usual  bronze  screen. 

In  the  II.  chapel  on  the  right,  a  picture  of  S.  Right. 
Francis  of  Paula  is  said  to  be  a  portrait.  In  the 
III.  chapel  is  an  Assumption  by  Daniele  da  Volterra, 
and  on  either  side  the  Presentation  and  the  Massacre 
of  the  Innocents.  In  the  V.  chapel  are  some  good  but 
injured  paintings  of  the  Nativity  by  a  Florentine  pupil 
of  Volterra,  Michel  Albert,  and  in  the  VI.  some  frescoes 
by  Perugino,  or  an  artist  of  his  school. 

The  left  transept  is  painted  by  Pierino  del  Vaga — 
an  Assumption  and  the  Death  of  the  Virgin ;  on  the 
vault  Isaiah  and  Daniel.  The  altar-piece  is  by  Zuc- 
chero. 

The,  chapel  in  the  left  aisle  next  the  transept,  the  Left. 
Massimo  chapel,  contains  an  altar-piece  by  Seitz  ;  the 
next,  an  altar-piece,  "  Noli  me  tangere,"  by  Giulio 
Romano.  The  IV.  chapel  contains  an  altar-piece, 
by  Langlois,  of  S.  Joseph.  In  the  III.  is  a  Madonna 
by  Veih,  and  in  the  II.,  the  Orsini  chapel,  the 
Descent  from  the  Cross,  considered  the  masterpiece  of 
Daniele  da  Volterra. 

The  cloisters  of  the  adjoining  convent  were  decorated 
in  this  century  with  frescoes  representing  the  life  of 
S.  Francesco  da  Paola,  and  contain  portraits  of  the 
French  kings  by  Nucci.  The  refectory  was  painted  by 
the  Jesuit  Pozzi. 

The  church  contains  the  monuments  of  many 
cardinals   and   members   of   Roman    families,    among 


350       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

them  that  of  Lucrezia  della  Rovere,  niece  of  Julius  II., 
and  of  Prince  de  Rohan,  Cardinal  Archbishop  of 
Besan9on. 

88.  VINCENZO  E  ANASTA8I0  in  the  Piazza  Trevi,  is  a 
parish  church.  In  1612  Paul  V.  bestowed  it  on  the 
monks  of  S.  Jerome,  and  it  finally  passed  to  the 
"  Ministers  of  the  Infirm,"  to  whom  it  now  belongs. 
The  church  was  entirely  rebuilt  in  1600,  the  fa9ade 
being  designed  by  Lunghi  the  younger.  It  has  a 
single  nave,  with  3  chapels  on  either  side.  Over  the 
high  altar  is  a  picture  of  the  patron  saints.  As  the 
Quirinal  Palace  was  within  this  parish,  it  was  in  former 
days  called  ''Parocchia  Pontificia,'"  and  it  was  the  custom 
to  bury  in  a  subterranean  chapel,  portions  of  the  bodies 
of  the  popes  who  died  in  the  Quirinal.  A  list  of  these 
popes  is  affixed  to  the  wall  of  the  church. 

Feast  day. — January  22. 

viHCEMT  and  akasiabitjs  were  two  martyrs,  of  whom 
Anastasius,  a  Persian  monk,  suffered  in  the  time  of 
the  Emperor  Heraclius  in  614.  He  is  said  to  have 
been  converted  by  the  miracles  occasioned  by  a  piece 
of  the  true  cross,  brought  into  Persia  by  King  Chosroes. 
He  visited  Jerusalem,  where  he  suffered  scourging 
and  imprisonment,  and  was  beheaded  on  his  return  to 
Persia  with  70  other  Christians.  They  were  after- 
wards removed  to  Rome.  His  proper  attribute  in  art 
is  an  axe. 

The  story  of  S.  Vincent  rests  on  what  is  generally 
admitted  to  be  contemporaneous  evidence.  He  was 
born  at  Saragossa,  and  was  a  deacon  at  20  years  old, 
and  preacher  of  the  Gospel  under  Valerian.  His  in- 
vincible courage  under  torment  is  expressed  by  his 
name.  He  was  the  consolation  of  many  who  suffered 
during  the  Diocletian  persecutions  carried  on  with 
brutal  severity  in  Spain  by  the  Proconsul  Datian. 
When  his  own  time  came,  he  was  tortured  and  placed 
like  S.  Laurence,  on  gridirons.  It  is  said  that  im- 
mediately after  his  sufferings  he  experienced  so  much 


THE  CHURCHES  IN  ROME  351 

solace  and  celestial  delight  that  he  called  his  gaolers 
to  enter  and  partake  of  it  with  him.  He  is  patron  of 
many  places,  his  memory  being  most  venerated  at 
Chalons.  In  art,  Vincent  wears  a  deacon's  dalmatic, 
and  carries  the  martyr's  palm.  His  special  emblem 
is  a  raven  or  crow,  sometimes  perched  beside  him  on 
a  milestone. 

S.  VITALE. — This  church,  in  the  Via  Nazionale,  is 
the  ancient  Titulus  Vestina,  erected  by  the  Roman 
matron  Vestina  in  401  or  402.  Vestina  confided  the 
erection  of  her  basilica  to  the  priest  Leopardus,  the 
restorer  of  S.  Pudenziana  and  other  churches.  The 
basilica  and  catacomb  of  S.  Agnese  were  under  the 
care  of  this  titulus,  as  was  usual  at  that  epoch. 

Later,  this  ancient  titular  church  was  known  under 
the  name  of  S.  Vitale,  to  which  saint  and  his  two 
sons,  Gervasius  and  Protasius,  it  was  dedicated.  In 
1475  it  was  restored  by  Sixtus  IV.,  and  again  by 
Clement  VIII.  in  1595.  Up  to  the  xvi.  century,  it 
had  a  chapter  of  canons,  and  annexed  to  it  was  a 
monastery  and  garden,  in  which  were  ruins  supposed 
to  belong  to  the  Temple  of  Quirinus.  Its  outer  walls 
still  show  traces  of  its  original  form,  but  its  portico  has 
been  walled  up  to  form  a  modern  vestibule.  Carved 
wooden  doors  lead  from  this  vestibule  into  the  church. 

Feast  day. — April  28. 

The  church  is  open  for  the  Station  on  the  3rd  Friday  in 
Lent. 

B.  YTtALta  is  said  to  have  been  a  Roman  soldier  in 
the  army  of  Nero,  and  to  have  been  converted  to 
Christianity  by  Peter.  In  the  exercise  of  his  duties, 
he  was  seen  encouraging  and  exhorting  a  Christian 
sinking  under  torture,  and  for  this  Vitalis  was  himself 
subjected  to  torture,  and  was  afterwards  burnt  alive. 
His  wife  and  sons  fled  to  Milan,  where  these  latter 
were  martyred,  and,  the  legend  relates,  the  spot  where 
their  bodies  were  laid  was  revealed  to  Ambrose  in  a 
dream,  who  removed  them  to  the  church  of  S.  Am- 
brogio.     S.  Vitalis  is  patron  of  Ravenna.     In  art  he 


352       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

is  portrayed  as  a  Roman  soldier  upon  a  white  horse, 
carrying  the  Christian  standard. 

saints'    rooms    in    ROME,    AND    LOCAL    MEMORIES    OF 
EARLY    CHRISTIANS. 

Saints'  In  nearly  all  cases  the  rooms  of  saints  have  been 

rooms.  made  into  oratories.  The  many  local  memories  of 
Early  the  early  Bishops  of  Rome,  and  those  of  the  martyrs 
popes  and  of  the  first  250  years  have  been  noticed  in  their  place  : 
martyrs,  -p^^^  g^  Clement  (106)  is  connected  with  his  church 
near  the  Lateran ;  S.  Pius  I.  (155)  with  the  house  of 
Pudens  on  the  Esquiline,  near  which  was  the  dwelling 
of  his  brother  Pastor ;  S.  Callistus  (220)  with  the 
Piazza  of  S.  Maria  in  Trastevere,  where  his  house 
was;  S.  Marcellus  (304)  with  the  church  in  the  Corso, 
given  him  by  Lucina  ;  S.  Mark  (337)  lived  at  the 
cemetery  of  S.  Balbina  on  the  Ardeatina  ;  S.  Felix  II. 
(antipope)  retired  to  land  of  his  own  on  the  Portuense ; 
Damasus  (366)  is  connected  with  the  church  and  house 
at  the  theatre  of  Pompey,  and  the  basilica  on  the 
Ardeatina;  Siricius  (380)  was  a  priest  of  the  title  of 
Pastor;  S.  Boniface  (418)  dwelt  at  the  cemetery  of 
S.  Felicita  on  the  Salaria  ;  S.  Agata  in  Trastevere  is 
the  house  of  S.  Gregory  II.  (731).  The  local  memories 
connected  with  the  lives  of  the  martyrs  are  few  :  The 
family  of  Pudens  in  the  First  century  is  connected 
with  the  2  sites  on  the  EsquiUne,  now  S.  Pudentiana 
and  S.  Prassede  ;  the  Apostolic  Priscilla  and  Aquila 
with  S.  Prisca  on  the  Aventine.  In  the  second  century 
Cecilia's  house  was  in  Trastevere ;  Justin  Martyr  lived 
in  the  Domus  Pastoris  on  the  Esquiline ;  S.  Felicitas 
and  her  children  dwelt  by  the  Baths  of  Titus,  where  a 
basilica,  now  in  ruins,  was  erected  ;  S.  Eustace,  in 
the  reign  of  Hadrian,  is  said  to  have  dwelt  where  his 
church  now  stands.  In  the  third  century,  Cyriaca's 
house  was  on  the  Coelian  Hill ;  Martina  is  connected 
with  the  site  of  her  church  at  the  Roman  Forum  ; 
Susanna's  paternal  house  was  on  the  site  of  the  present 
church  dedicated  to  her  ;  S.  Agnes  was  taken  to  the 


THE  CHURCHES  IN  ROME  353 

Circo  Agonale,  where  her  church  is  now.*  In  the 
fourth  century,  Paula's  house  was  where  now  is  S.  Giro- 
lamo  della  Carita,  and  here  too  is  the  one  local 
memory  of  the  great  Jerome,  who  visited  her  here  in 
A.D.  382  ;  Eusebius,  the  Roman  priest,  a.d.  358,  had 
his  house  where  now  is  the  church  on  the  Esquiline, 
towards  S.  Croce ;  while  Proba  had  her  palace  on  the 
Aventine,  and  Marcella  her  dwelling  on  the  same  hill. 
SS.  John  and  Paul's  house  is  now  the  church  of  that 
dedication  on  the  Coelian,  facing  the  Palatine,  In  the 
fifth  century  S.  Paulinus  of  Nola  and  Therasia  dwelt 
by  S.  Felix  on  the  Via  Portuensis,  where  they  built  a 
monastery  and  basilica  ;  S.  Galla,  whom  Gregory  the 
Great  calls  "  that  most  noble  daughter  of  this  city," 
had  her  dwelling  where  now  is  the  church  of  her  name, 
near  to  S.  Maria  in  Cosmedin  ;  S.  Alexis,  whose  story 
is  however  apocryphal,  is  said  to  have  had  his 
paternal  residence  on  the  Aventine.  In  the  sixth  cen- 
tury, the  memory  of  S.  Gregory  the  Great  and  of 
Sylvia  is  preserved  at  San  Sabba  and  at  S.  Gregorio, 
facing  the  Palatine  hill ;  and  S.  Benedict  resided  on  the 
site  of  the  little  church  in  Trastevere  called  after  him. 

LOCAL    MEMORIES    OF    THE    SAINTS    FROM    THE 
XII.    CENTURY. 

8.  JOHN  OF  MATHA  (Trinitarians)  (ob.  1214) :  His  cell  is  over  xui. 

the  arch  of  Dolabella,  on  the  Coelian.  century. 

8.  PEAHCI8  OP  AB8I8I:  First  receivcd  at  the  nuns'  House  of 

S.  Antonio,  near  S.  Maria  Maggiore  ;  then  stayed 

at  the  Franciscan  house,   S.  Francesco  a  Ripa. 

The  latter  room  is  shown. 
8.  DOMnnc:  S.    Sisto   near    Porta    S.    Sebastiano  ;    then 

S.  Sabina  on  the  Aventine.     The  latter  room  is 

shown. 
B.  BEioiD  (Bridgettines)  :    Founded,  and  resided  at,   the  xiv. 

monastery  in  Piazza  Farnese.      The  rooms  are  century. 

*  There  is  no  precise  local  memorial  of  S.  Laurence  :  S.  Lorenzo 
in  Miranda,  S.  Lorenzo  in  Panisperna,  and  S.  Maria  in  Domnica, 
mav  be  referred  to. 

23 


354       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

shown.  Another  site  is  the  basilica  and  catacomb 
'  of  S.  Sebastiano,  where  she  went  with  her 
daughter  to  pray  ;  and  S.  Lorenzo  in  Panispema. 
s.  CATHERINE  OP  BiENA  (co-protector  of  Rome)  :  Stayed  in 
Via  di  S.  Chiara,  opposite  the  present  church, 
behind  the  Pantheon.  The  wooden  ceiling  is 
ancient ;  the  picture  of  Catherine  is  by  Guercino, 
the  hands  very  delicate.  This  chapel,  which  is  in 
the  House  of  the  Istituto  della  Carita,  is  only 
opened  on  her  feast  day.  The  walls  of  this  room 
are  now  removed  to  the  Minerva,  where  they  form 
a  chapel  off  the  sacristy.  Her  body  rests  at  the 
Minerva. 

XIV.  to      8.  FEANCEBCA  EOMANA  (Oblatcs) :  Hcr  house  was  opposite 

XV.  the  present  Church  of  S.  Agnese  Circo  Agonale, 
centunes.  q^   ^.^g   Other    side;    she   was   baptized   in   that 

church ;  founded  her  convent  at  Tor'  de'  Specchi, 

near  the   Capitol    (room   shown   usually   on  the 

octave  of  her  feast)  ;  and  her  family  house  was 

the  Palazzo  Ponziani  by  Ponte  Rotto,  where  now 

is  a  chapel  in  the  Via  Vascellari,  and  her  room  is 

shown.     Here  she  lived  most  of  her  life,  and  here 

she  died.     Her  body  lies  at  the  church  of  her 

name  on  the  Forum. 

Saints  of    s.  charuss  boeromeo:  When  in  Rome  said  Mass  daily  at 

the  XVI.  s.  Prassede,  and  in  this  church  spent  much  time. 

RomT' '"  ^®  ^^^  ^^^°  archpriest  of  S.  M.  Maggiore. 

8.  PIU8  V. :  Occupied  the  room  still  shown  at  the  Dominican 
House  of  S.  Sabina  on  the  Aventine.  His  remains 
rest  at  S.  M.  Maggiore. 
8.  lONATius  LOYOLA :  Lived  first  at  S.  Croce  dei  Lucchesi ; 
then  at  the  Gesu,  where  he  founded  the  Germanic 
College.  At  S.  Vitale  the  saint  also  resided;  and 
he  founded  the  House  and  Church  of  S.  Andrea 
al  Quirinale.  His  body  rests  at  the  Gesu. 
8.  PHILIP  NERi  ("  Apostle  of  Rome  ") :  S.  Girolamo  della 
Carita,  where  S.  Philip  lived  many  years  ;  then 
the  Chiesa  Nuova,  where  he  founded  the  Oratory ; 
also   at    S.    Giovanni   dei    Fiorentini,  where   the 


THE  CHURCHES  IN  ROME  355 

Oratorians  first  congregated,  and  where  Baronius, 
afterwards  Cardinal  Baronius,  was  cook.  SS. 
Trinita  dei  Pellegrini,  where  he  founded,  in  1550, 
the  confraternity  for  the  relief  of  poor  pilgrims  ; 
S.  Salvatore  in  Campis,  which  he  frequented  when 
he  first  came  to  Rome.  Tasso's  Oak  on  the 
Janiculum,  and  the  avenue  of  Villa  Mattei  on  the 
Coelian,  where  he  used  to  take  young  men  for 
recreation  ;  S.  Sebastiano  on  the  Appia,  where  he 
spent  days  and  nights  in  prayer.  His  body  rests 
at  the  Chiesa  Nuova. 

B.  cAMnxus  OP  LEiiiB:  Occupied  a  room  at  S.  Maria  Mad- 
dalena,  still  shown.     Here  he  is  buried: 

8.  JOSEPH  cAiASANcno :  Both  thcsc  saints  lived  near  the  site 
of  the  Church  of  SS.  Dorotea  e  Silvestro,  and 
there  inaugurated  their  orders.  The  site  is  not 
shown.  S.  Giuseppe  Calasanzio  also  occupied 
rooms  in  S.  Pantaleo,  which  are  shown  just  as  he 
left  them.  Here  his  body  rests. 
8TAKI8LAU8  KosTKA:  The  room  occupied  by  him  at  the 
Jesuit  House  attached  to  S.  Andrea  al  Quirinale, 
and  where  he  died,  is  destroyed,  and  a  facsimile 
room  erected.     Here  his  body  rests. 

8.  LEWIS  ooNZAQA:  Resided  at  S.  Vitale,  at  the  Gesu,  at 
S.  Andrea  al  Quirinale,  and  S.  Apollinare ;  the 
rooms  are  shown  :  also  at  S.  Ignazio,  where  he 
died,  and  is  buried. 

s.  JOHK  BEECHMAHS:  Occupied  a  room  at  S.  Ignazio,  and  xvii. 
one    at   S.    Maria   in   Campo   Marzio.     Both  are  century, 
shown.     His  remains  repose  at  S.  Ignazio. 

8.  JOHN-BAPTIST  DE  KosBi :  (A  Geuoese  ;  born  i6g8  ;  came  xvm. 
to  Rome  when  13  ;  died  1764;  beatification  1859;  century 
canonized  1881.)  Was  canon  of  S.  Maria  in 
Cosmedin,  where  a  room  of  his  is  shown  ;  he  died 
at  the  Trinita  dei  Pellegrini  where  his  work  was 
to  serve  the  sick  poor.  S.  Galla,  and  the  arch- 
confraternity  rooms  attached  to  the  Nome  di  Maria, 
are  also  visible  on  the  feast-day.  May  23.  His 
remains  rest  at  the  Church  of  the  Trinita. 

23 — 2 


356       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

B.  BEOTDicT  JOSEPH  LABRE :  Ob.  1 783.  Nationality,  French. 
Lived  in  Via  dei  Crociferi  No.  20,  and  died  in  Via 
dei  Serpenti  No.  3.  His  body  is  at  S.  Maria  de' 
Monti.     The  rooms  are  shown  on  April  16.* 

TRASTEVERE    AND   THE    GHETTO. 

The  Jews  of  the  Dispersion  were  everywhere  the 
first  Christian  converts :  Jews  living  in  Rome,  in 
Greece,  in  Asia  Minor,  in  a  separate  community  or 
Tras-  paroikia,  subject  to  special  laws.  The  Jews'  quarter  in 
tevere.  Rome  at  the  time  of  Horace  was  the  Trastevere,  or 
region  over  the  Tiber,!  where  Philo  speaks  of  them  as 
forming  a  separate  colony.  In  the  time  of  Claudius 
they  had  another  quarter  by  the  Porta  Capena.  The 
first  Christians  were  often  reckoned  politically  with 
the  Jews,  and  included  in  Roman  edicts  among  those 
following  Jewish  customs.  As  Gregorovius  tells  us, 
the  Christian  society  was  a  society  within  a  society, 
an  unauthorized  organization  within  the  Jewish  com- 
munity which  had  a  recognised  political  constitution  in 
the  country  of  its  adoption.  The  organization  of  the 
Jews  of  the  Dispersion  at  the  inception  of  Christianity 
IS  therefore  a  matter  of  great  interest,  and  detailed  in- 
formation can  be  gained  from  the  Jewish  cemeteries  on 
the  Appia.  In  Rome  especially  it  is  remarkable  how  the 
earliest  Christian  memories  congregate  in  Trastevere. 
The  Ghetto,  the  walled-in  township  of  the  Jews, 
which  all  visitors  to  Rome  previous  to  1885  will  re- 
member, was  itself  pulled  down  in  that  year.  It  was 
erected  by  Paul  IV.,  but  the  Jews  had  been  settled  on 
the  left  bank  since  the  xi.  century.  All  Jews  were 
obliged  to  live  there.  The  Ghetto  ceased  to  exist,  in 
this  sense,  the  day  the  Italians  entered  Rome.j 

•  The  Churches  mentioned  should  be  referred  to  for  descrip- 
tions ;  and  the  Order  in  the  Part  deaUng  with  monasticism,  in  the 
case  of  Founders  of  orders.  The  rooms  are  always  shown  on  the 
saints'  ov/n  feast  days. 

t  Trans,  Tevere. 

I  M.  Rodocanachi,  '  Le  Saint-Siege  et  les  Juifs :  le  Ghetto  de 
Rome  '  (Paris,  1891) ;  and  A.  Berliner's  recent  work. 


PAGE 
..  162 
..    168 

..  151 
..    163 

..    170 

••    173 

THE  CHURCHES  IN  ROME  357 


LIST  OF  THE  ROMAN  CHURCHES. 

The  pages  refer  to  those  described  in  this  Handbook. 

(The  asterisk  is  placed  against  those  churches  which,  for  one 

reason  or  another,  should  be  visited.) 
(The  obelisk  indicates  a  chapteral  church.) 

S.  Adriano  

*S.  Agata  . . 

S.  Agata  in  Trastevere 
*S.  Agnese  Fuori 
"S.  Agnese  in  Piazza  Navona 

"S.  Agostino       

"S.  Alessio 

S.  Alfonso  Liguori,  Via  Merulana,  Redemptorists  . .       — 

S.  Ambrogio  de   Maxima,   Piazza  Mattei,  Subiaeo  Bene- 
dictines       . .         . .         . .         . .         . .         . .         . .       — 

S.  Anastasia 175 

SS.  Andrea  e  Bartolomeo,  in  the  precincts  of  the  Lateran 

Hospital     . .         . .  . .         . .         . .  . .         . .       — 

•S.  Andrea  delle  Fratte 176 

'S.  Andrea  a  Monte  Cavallo  . .  . .         . .         . .     178 

*S.  Andrea  a  Monte  Ccelio,  vide  S.  Gregorio        . .         . .       — 

S.  Andrea   de   Portugallo,   Via  dell'   Agnello,   confra- 
ternity of  S.  M.  delta  Neve  ..  ..         ..         ..       — 

S.  Andrea  degli  Scozzesi,  Via  Quattro  Fontane,  chapel 

of  the  Scotch  College  . .         . .         . .         . .         . .       — 

*S.  Andrea  della  Valle        . .         . .         . .         . .         . .     179 

S.  Andrea  in  Vincis,  Via  Tor  de'  Specchi,  Ropemakers'      — 

Guild  — 

S.  Angelo  de  Castro  S.  Angelo — 

S.  Angelo  al  Corridoio,  in  Leonine  city  . .         . .         . .       — 

S.  Angelo  Custode,  Via  Tritone,  confraternity  of  the  same 

name  . .  . .  . .  . .  . .  . .  . .       — 

S.  Angelo  in  Pescheria,  near  Portico  of  Octavia  . .       — 

S.  Aniano,  Via  Bocca  della  Verity,  confraternity  of  S.  M. 

del  Pianto    . .         ..         ....         . .         . .         . .       — 

S.  Aniceto         . .         . .         . .         . .         . .         . .  . .     181 

SS.  Anna  dei  Calzettari,  Via  Salaria,  Guild  of  Shoemakers      — 
S.  Anna  e  Gioacchino,  at  the  Quattro  Fontane,  chapel  of 

Belgian  College       . .  . .  . .         . .  . .  . .     181 

S.  Anna  in  Via  Merulana,  Daughters  of  S.  Anna  . .         . .       — 

S.  Anna  de'  ParafreNieri,  Porta  Angelica,  Guild  of  Pope's 

Grooms        . .         . .         . .         . .  . .         . .         . .        — 


Spirito  dei  Napolitani 


183 
184 
190 
195 

196 


358       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


S.  Anselmo    on    Aventine,   Head  House  of  Benedictines 

{now  being  built)     . .         . .         . .         . .         . .         . .  — 

S.  Antonio  Abate,  Piazza  S.  Pietro  in  Vincoli,  Maronite 

Antonians    . .          . .          . .          . .          . .          . .          . .  — 

S.  Antonio  di  Padova,  Via  Merulana,  new  Mother  House 

of  the  Franciscans  . .         . .         . .         . .         . .         . .  — 

S.  Antonio  de'  Portoghesi  . .         . .         . .         . .         . .  182 

S.  Apollinare 
*SS.  Apostoli 
*Ara  Cceli 
*S.  Atanasio 
S.  Aurea,  vide  S. 
S.  Balbina 
S.  Bambino  Gesu,  Viadi  S.  Pudenziana,  Convent  and  School 

of  the  Child  Jesus        . .          . .          . .          . .          . .          . .  — 

S.  Barbara         . .         . .         . .         . .         . .         . .         . .  197 

S.  Barbara  a  Monte  Ccelio,  vide  S.  Gregorio      . .         . .  — 

SS.  Bartolomeo  e  Alessandro,  vide  S.  Maria  della  Pieta  — 

*S.  Bartolomeo  all'  Isola     . .         . .         . .         . .         . .  198 

S.  Bartolomeo  de'  Vaccinari,  Via  della  Regola,  Tanners' 

Guild           — 

S.  Basilio,  Via  di  S.  Basilic,  Greek  Sicilian  Basilian  Monks  — 
S.  Benedetto  della  Ciambella,  Via  della  Ciambella, 

confraternity  of  SS.  Benedict  and  Scholastica       ..          . .  — 

S.  Benedetto,  Via  S.  Niccolo  Tolentino,  new  chapel  of 

Benedictine  Nuns    . .         . .         . .         . .         . .         . .  — 

*S.  Benedetto  in  Piscinula  . .         . .         . .         . .         . .  200 

S.  Bernardino  da  Siena,  near  S.  Agata,  Franciscan  Nuns  — 

•S.Bernardo      ..         ..         ..         ..         ..         ..         ..  201 

S.  BiAGio  DE  Cantu  Secuta             . .         . .         . .         . .  201 

S.  Biagio  de  Mercatello,  Steps  of  Ara  Coeli,  confraternity 

of  the  '  Spina  '        ..         . .         . .         . .         . .         . .  — 

*S.  Bibiana          203 

S.  Bonaventura           . ,         . .         . .         . .         . .         . .  204 

S.  Brigida,  Piazza  Farnese,  chapel  to  the  Carmelite  Convent  — 

S.  Callisto        . .         . .         . .         . .         . .         . .         . .  205 

S.  Camillo  a  Lellis,  Via  Veneto,  Ministers  of  the  Infirm  — 

Campidoglio,  Cappella  dell',  on  the  Capitol        . .         . .  — 

•Cappdccini,  t;i(i«  S.  Maria  della  Consolazione        ..         ..  — 

Caravita,  Oratorio  della,  vide  S.  Francesco  Saverio  . .  — 

S.  Carlo  a  Catinari,  Piazza  Catinari        . .         . .         . .  — 

*S.  Carlo  al  Corso      . .         .  •         . .         . .         . .         . .  207 

S.  Carlo  alle  Quattro  Fontane,  church  of  the  Spanish 

Trinitarians           . .         . .         . .         . .         . .         . .  207 

S.  Caterina  de'  Funari,  Via  de'  Falegnami,  Girls'  School  — 
S.  Caterina  in  Via  Giulia,  Spanish  Missionary  Fathers  0/ 

Sacred  Heart          . .         . .         . .         . .         . .         . .  — 

S.  Caterina  a  Magnanapoli            . .         . .         . .         . .  208 


THE  CHURCHES  IN  ROME  359 


S.  Caterina  della  Roota,  Piazza  Fainese          . .         . .  — 

*S.  Cecilia          . .         . .         . .         . .         . .         . .          . .  208 

S.  Celso,  Via  S.  Celso,  near  Ponte  S.  Angelo,  confraternity 

of  the  SS.  Sacrament         ..         . .         . .         . .         . .  — 

tSS.  Celso  e  Giuliano,  Via  de'  Banchi       . .         . .         . .  — 

*S.  Cesareo         ..         ..         ..         ..         ..         ..          ..  213 

S.  Chiara,  Via  di  S.  Chiara,  chapel  of  the  French  College  . .  — 

S.  Claudio         . .         . .         . .         . .         . .         . .          . .  214 

*S.  Clements 214 

*SS.  CosMA  E  Damiano,  Foro  Romano         . .          . .         . .  222 

SS.  CosMA  E  Damiano  de'  Barbieri,  Via  Barbieri,  Nuns 

of  3rd  Order  S.  Francis     ..          ..          ..          ..          ..  — 

SS.  Cosma  e  Damiano  in  Trastevere       . .         . .          . .  224 

*S.  Costanza,  vide  S.  Agnese  Fuori    . .         . .          . .          . .  — 

•S.  Crisogono     . .         . .         . .         . .          . .          . .  .fc      . .  225 

SS.  Croce  e  Bonaventura 227 

*S.  Croce  in  Gerusalemme    ..         ..         ..         ..         ..  139 

S.  Croce  della  Scaletta,  Via  Lungara,  attached  to  Peni- 
tentiary       . .         . .         . .         . .          . .         . .         . .  — 

S.  Crocifisso  della  Ferratella,  Vicolo  della  Ferratella  — 

S.  Crocifisso  di  S.  Spxrito,  Cemetery  of  S.  Spirito        . .  — 

S.  Cuore  di  Gesu,  Villa  Lante         . .         . .         . .         . .  — 

S.  CuoRE  DI  Ges£j  in  Castro  Pretorio — 

S.  Cuore,  Nostra  Signora  del,  Piazza  Navona      . .         . .  — 

S.  Cuore  di  Maria,  Via  Palermo,  Ladies  of  S.  Heart  of 

Mary           . .          . .          . .          . .          . .          . .          . .  — 

S.  DioNisio,  Via  Sistina,  Convent  of  French  Nuns    . .         ..  — 

SS.  DoMENico  e  Sisto            227 

S.  Doming  Ros^e,  or  S.  Caterina  de'  Funari          . .         . .  — 

SS.  DoROTEA  E  Silvestro,  Trastevere,  Conventual  Fathers  — 

S.  Efrem,  Via  Quattro  Fontane        ..         ..         ..          ..  — 

S.  Egidio,  Piazza  S.  Egidio,  Carmelite  Nuns           ..         . .  — 

S.  Eligio  de'  Ferrari,  Ripa,  Guild  of  Ironworkers           . .  — 
S.  Eligio  degli  Orefici,  Via  degli  (Drefici,  Guild  of  Clock- 
makers         . .         . .         . .         . .         . .         . .         . .  — 

S.  Eligio  de'  Sellai,  near  Island  of  the  Tiber,  Saddler's 

Guild           . .         . .         . .         . .         . .         . .         . .  — 

S.  EusEBio          227 

S.  EusTACHio     . .         . .         . .         . .         . .          . .         . .  229 

S.  Filippino,  Via  Giulia          ..          ..         ..         ..         ..  — 

S.  FiLipPO  IN  Palazzo  Massimo       . .          . .          . .         . .  230 

S.  Filippo  in  Scossa  Cavalli           . .         . .         . .         . .  — 

S.  Filippo  in  Via  Sforza,  Convent  of  Oblates          . .         . .  — 

*S.  FrANCESCA  ROMANA                 ..             ..             ..             ..             ..  230 

S.  Francesca  Romana  a  Ponte  Rotto,  confraternity  for 

religious  exercises    . .         . .         . .         . .         . .         . .  — 

S.  Francesca   Romana,  Via   Sistina,  chapel  of  Bohemian 

College         . .         ..         . .         ..         . .         . .         . .  — 


36o       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


S.  Francesco  di  Paola,  near  S.  Pietro  in  Vincoli            . .  — 

"S.  Francesco  a  Ripa   . .         . .         . .         . .         . .         . .  233 

S.  Francesco  Saverio,  ViadellaCaravita,  chapel  for  religious 

exercises  for  men     . .         . .         . .         . .         . .         . .  — 

S.  Galla,  or  S.  Maria  in  Porticu       . .         . .         . .         . .  — 

S.  Gallicano  in  Trastevere,  chapel  of  hospital     . .         . .  — 

•II  GEsti 234 

SS.  GEstr  E  Maria,  Corse      . .         . .         . .         . .         . .  — 

S.  GiACOMO  IN  Augusta,  Corso,  hospital  chapel      ..         . .  — 

S.  GiACOMO  ALLA  LuNGARA,  church  of  Penitentiary  ..          ..  — 

S.  GiACOMO  IN  Portico,  Piazza  Scossa  Cavalli     . .         . .  — 

S.  GiACOMO  DEGLI  SpAGNOLI    .  .             .  .             .  .             .  .             .  .  235 

S.  GlOACCHINO 235 

"S.  Giorgio  in  Velabro           . .         . .         . .         . .         . .  236 

S.  Giorgio  Piazza  di  Spagna,  chapel  of  the  English  Sisters, 

'  Poor  Servants  of  the  Mother  of  God  Incarnate '             ..  — 

S.  Giovanni  in  Ayno,  Via  Monsenato        . .         . .         . .  — 

S.  Giovanni  Bbrchma^s,  Jesuit  Austro-Hungarian  College, 

entrance  by  the  Vicolo  del  Falcone  . .          . .          . .          . .  — 

S.  Giovanni  Calibata,  Island  of  the  Tiber           . .         . .  — 

S.  Giovanni  Decollato         . .         . .         . .         . .         . .  237 

S.  Giovanni  della  Ficozza,  Via  dei  Maroniti,  chapel  of 

Polish  College         - 

•S.  Giovanni  de'  Fiorentini  . .         . .         . .         . .         . .  237 

"S.  Giovanni  in  Fonte  (Lateran  baptistery)           . .         . .  99 

S.  Giovanni  de'  Genovesi,  church  of  the  Genoese    ..         . .  — 

*tS.  Giovanni  in  Laterano    . .         . .         . .         . .         . .  88 

S.  Giovanni  della  Malva,  at  the  foot  of  Janiculum       . .  — 

"SS.  Giovanni  e  Paolo           . .         . .         . .         . .         . .  239 

S.  Giovanni  de  Pinea,  Piazza  della  Pinea            . .         . .  — 

*S.  Giovanni  a  Porta  Latina           . .         . .         . .         . .  239 

*S.  Girolamo  della  Carita   . .         . .         . .         . .         . .  244 

-S.  Girolamo  degli  Schiavoni,  Via  di  Ripetta     . .         . .  — 

S.  GiULiANo  de'  Fiamminghi,  Flemish  Church        . .         ..  — 

S.  GiULiANo  IN  Banchi,  vtde  S.  Celso          — 

S.  Giuseppe  Calasanzio,  Via  Sicilia,  Fathers  of  the  "Scuole 

Pie"           — 

S.  Giuseppe  Calasanzio,  in  Prati  di  Castello,  Calasan- 

ziane  Sisters           ..         ..         . .         . .         ..         ..  — 

S.  Giuseppe  a  Capo  le  Case            . .         . .         . .         . .  — 

S.  Giuseppe  de'  Falegnami 251 

S.  Giuseppe  alla  Lungara,  Fathers  of  "  Pii  Operai "      . .  — 
SS.  Giuseppe  e  Maria  di  Lourdes,  Via  Buonarroti,  Sisters 

of  S.  John  of  Cluny 
SS.  Giuseppe  e  Orsola,  Via  di  S.  Orsola,  off  the  Corso. 

chapel  of  Ursuline  Nuns    . . 
S.  Giuseppe.  Piazza  di  Spagna,  Fathers  of  the  •' Scuoh 

Pie"           — 


THE  CHURCHES  IN  ROME 


361 


Scuole 


*S.  Gregorio 

S.  Gregorio  de'  Muratori,  Via  Leccosa,  Guild  of  Masons 

S.  Gregorio  de'  Quattro  Capi,  Lay  confraternity 

S.  Ignazio 

S.  Ildefonso,   Via    Sistina,   Spanish    discaked   hermits   of 
S.  Augustine 

S.  Immaculata,   Via  di   S.    Pietro  in   Vincoli,  oblates  of 
Maria  Immaculata 
*S.  Isidoro 

S.  Ivo,  Via  Ripetta 

S.  Lazzaro,  under  the  Aventine,  hospital  chapel 

SS.  Leone  Ivo  e  Pantaleo,  chapel  of  the  Sapienza 
*tS.  Lorenzo  in  Damaso 

S.  Lorenzo  in  Fonte,  Via  Urbana 

•S.  Lorenzo  Fuori 

*S.  Lorenzo  in  Lucina  

*S.  Lorenzo  in  Miranda 

S.  Lorenzo  in  Palatio,  vide  Sancta  Sanctorum 
*S.  Lorenzo  in  Panisperna     . . 

S.  Lorenzo  in  Piscibus,  in  the  Borgo,  Fathers  of  th 

Pie"  

*S.  Lorenzo  in  Vaticano,  vide  Part  IV. 

S.  Lucia  de'  Ginnasi,  Via  delle  Botteghe  Oscure 

S.  Lucia  Gonfalone,  Via  GiuHa 

S.  Lucia  in  Orfea,  Augustinian  Nuns 

S.  Lucia  della  Tinta,  Via  Tintoria 

S.  Lucia  Vecchia,  Via  delle  Carcere  Nuove 
*S.  LuiGi  de'  Francesi 

S.  LuiGi  Gonzaga,  in  Prati  di  Castello,  chapel 
A  merican  College    . . 

S.  Macuto,  Via  S.  Ignazio 
tSS.  Marcelling  e  Pietro 

S.  Marcello 
•fS.  Marco 

S.  Margarita,  in  the  city  wall  near  S.  Croce 

SS.  Margarita  ed  Emilio,  Trastevere,  Franciscan  Nuns. 

S.  Maria  Addolorata,  Via  PagUa.,  confraternity  of  the  name 
*S.  Maria  degli  Angeli 
*S.  Maria  dell'  Anima 

S.  Maria  Annunziata,  Borgo  S.  Spirito,  arch-confraternity 
of  the  name  . . 

S.  Maria  in  Aquiro 

S.  Maria  in  Aracceli,  vide  Aracoeli  . . 

S.  Maria  Assunta,  Via  delle  Mantellate    . . 
•S.  Maria  in  AvENTiNO 

S  Maria  del  Buon  Aiuto,  near  S.  Croce  . . 

S.  Maria  del  Buon  Consiglio,  Salita  del  Grille 

S.  Maria  del  Buon  Consiglio,  Via  de"  Coronari 


PAGE 


of  South 


255 

142 
257 
259 


261 


262 
262 
265 


267 
269 


270 


362       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


S.  Maria  del  Buon  Consiglio,  Via  S.  Sebastiano          . .  — 

S.  Maria  in  Cacaberis,  Coachmen's  Guild  . .         . .         . .  — 

S.  Maria  in  Campitelli         . .         . .         . .         . .         . .  271 

S.  Maria  in  Campo  Marzio   . .         . .         . .         . .         . .  272 

S.  Maria  in  Cappella,  vide  ad  Pineam       . .         . .         . .  — 

S.  Maria  in  Carinis,  Greek  Melchite  Basilian  Monks          . .  — 

S.  Maria  del  Carmine,  alle  Tre  Canelle    . .         . .         . .  — 

S.  Maria  del  Carmine,  Piazza  Costaguti  . .         . .         . .  — 

S.  Maria  del  Carmine,  by  S.  Crisogono,  confraternity  of 

Corpus  Christi         . .          . .          . .          . .          . .          . .  — 

S.  Maria  della  Clemenza,  Vicolo  del  Piede,  confraternity 

of  SS.  Sacramento  . .          . .          . .          . .          . .          . .  — 

*S.  Maria  della  CoNCEZioNE  (Cappuccini)            ..         ..  272 

S.  Maria  della  Concezione,  near  S.  Maria  Maggiore, 

Carmelite  Oblates    . .          . .          . .          . .          . .          . .  — 

S.  Maria  della  Concezione,  near  S.  Pietro  in  Vincoli, 

Little  Sisters  of  the  Poor   . .          . .          . .          . .          . .  — 

S.  Maria  della  Concezione,  Via  delle  Sette  Sale          . .  — 

S.  Maria  della  CoNSOLAZioNE,  Piazza  della  Consolazione  — 

*S.  Maria  in  CosMEDiN             ..          ..          ..          ..          ..  273 

S.  Maria  in  Costantinopoli,  Via  Tritone,  Sicilian  con- 
fraternity    . .          . .          . .          . .          . .          . .          . .  — 

S.  Maria  di  Divino   Amore,  Piazza  Borghese,  Guild  of 

Mattress-makers      . .         . .         . .         . .         . .         . .  — 

S.  Maria  di  Divino  Amore,  Via  de'  Prefetti          . .         . .  — 

*S.  Maria  in  Domnica  . .         . .         . .         . .         . .         . .  278 

*S.  Maria  Egiziaca        . .         . .  '      . .         . .         . .         . .  299 

S.  Maria  delle  Grazie,  Porta  Angelica    . .         . .         . .  — 

S.  Maria  delle  Grazie,  Lateran  Hospital  confraternity     . .  — 
S.  Maria  di  Grotta  Pinta,  Campo  di  Fieri,  Tata  Giovanni 

Hospital — 

S.  Maria  del  Latte,  Piazza  del  Biscione  . .         . .         . .  — 

*S.  Maria  Liberatrice            . .         . ,         . .         . .         . .  280 

S.  Maria  di  Loreto,  near  Lateran,  Lauretane  convent       . .  — 

S.  Maria  di  Loreto,  Foro  Trajano,  Guild  of  Bakers        . .  — 

S.  Maria  di  Lourdes,  vide  S.  Giuseppe  di  Lourdes         . .  — 

S.  Maria  di  Lutara,  near  S.  Pietro  in  Vincoli     . .         . .  — 

S.  Maria  in  Macello,  Via  Alessandrina,  Brothers  of  Peni- 
tence .. 
S.  Maria  Maddalena,  Piazza  S.  M.  Maddalena 

*+S.  Maria  Maggiore  .. 
S.  Maria  in  S.  Marco,  near  S.  Marco 
S.  Maria  ad  Martyres,  vide  Pantheon 

*S.  Maria  sopra  Minerva       . .         . .         . .         . .         . .  281 

S.  Maria  dei  Miracoli           . .         . .         . .         . .         . .  285 

S.  Maria  di  Monserrato       . .         . .         . .         . .         . .  286 

tS.  Maria  di  Monte  Sanjto 286 

S.  Maria  in  Monterone,  Piazza  S.  Eustachio 


THE  CHURCHES  IN  ROME  363 


S.  Maria  dei  Monti,  Via  di  Monti  . . 

S.  Maria  in  Monticelli,  Regola  region,  Fathers  of  Chris- 
tian Doctrine 

S.  Maria  Navicella,  vide  S.  Maria  in  Domnica  . . 

SS.  Nome  di  Maria,  Forum  of  Trajan,  confraternity  of  th 
name 

S.  Maria  Nuova,  vide  S.  Francesca  Romana 

S.  Maria  Orazione  e  Morte,  Via  Giulia,  confraternity  of 
the  name 

S.  Maria  dell' Orto  . .         ..         ..         ..         ..         ..     287 

•S.  Maria  della  Pace  . .         ..         ..         ..         ..         ..     287 

S.  Maria  della  Pieta  289 

S.  Maria  della  PietX,  Piazza  Colonna     . . 

S.  Maria  ad  Pineam,  near  Ponte  Rotto 
*S.  Maria  del  Popolo  . .         . .         . .         . .         . .         . .     289 

S.  Maria  in  Porta  Paradisi,  Via  Ripetta. . 
tS.  Maria  in  Porticu,  Via  di  S.  Galla 
*S.  Maria  del  Priorato,  vide  dell'  Aventino 

S.  Maria  della  Providenza,  Monte  Testaccio    . . 

S.  Maria  in  Publicolis,  under  the  Capitol 

S.  Maria  della  Quercia,  Regola  region    . . 

S.  Maria  Riparatrice,  vide  S.  Croce  de'  Lucchesi 

S.  Maria  Mater  Salutis,  Vicolo  del  Corridoio  . . 

S.  Maria  della  Scala,  Trastevere,  Carmelite  Monks 

S.  Maria  dei  Sette  Dolori,  near  S.  Pietro  in  Montorio 
A  ugnstinian  Nuns  . . 
*S.  Maria  del  Sole,  vide  S.  Maria  in  Cosmedin     . . 

S.  Maria  de  Suffragio,  Via  Giulia,  confraternity  of  same 
name 

S.  Maria  in  Torre,  on  the  Tiber,  Fathers  of  Christian  Doc 
trine .. 

S.  Maria  in  Traspontina 291 

*tS.  Maria  in  Trastevere      ..         ..         ..         ..         ..     291 

S.  Maria  in  Trivio,  Piazza  Trevi     . . 

S.  Maria  dell'  Umilta,  Via  dell'  Umilta,  chapel  of  the 
North  A  merican  College 
•S.  Maria  in  Vallicella        295 

S.  Maria  in  Via  ..         ..         ..         ..         ..         ..     297 

S.  Maria  in  Via  (Oratory),  Piazza  Poli,  confraternity  of  the 

SS.  Sacramento 
*+S.  Maria  IN  Via  Lata  

S.  Maria  in  Vincis,  on  the  slopes  of  the  Capitol,  granted 

to  the  Guild  of  Soapmakers 
*S.  Maria  della  Vittoria      . .         . .         . .         . .         . .     298 

S.  Marta,  behind  S.  Peter's,  Pontifical  Seminary    . . 

•+S.  Martina 300 

♦S.  Martino  ai  Monti 302 

S.  Martino  del  Portico,  by  S.  Peter's 


364       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


S.  Martino  degli  Svizzeri,   Colonnade  of  S.   Peter's, 

chapel  of  the  Swiss  Guard  . .         . .          . .         . .         . .  — 

S.  Matteo,  Via  delle  Muratte,  chapel  of  Salini  Palace       . .  — 

S.  MiCHELE  IN  BoRGO,  Piazza  S.  Pietro      . .         . .         . .  — 

S.  NativitX  di  GEst;,  Piazza  di  Pasquino,  confraternity  of 

Agonizzanti             . .          . .          . .          . .          . .          . .  — 

*SS.  Nereo  e  Achilleo           . .         . .         . .         . .         . .  304 

S.  N1CCOL6  IN  Agone,  Piazza  Navona,  African  Missionary 

Fathers        . .          . .          . .          . .          . .          . .          . .  — 

S.  Niccol5  degli  Arcioni,  Via  degli  Arcioni,  confraternity 

of  Joseph  and  Mary           ..         ..         ..         ..         . .  — 

S.  N1CCOL6  DI  Bari,  Piazza  S.  Niccolo  in  Carcere            . .  — 

*tS.  Niccol6  IN  Carcere         . .         . .         . .         . .         . .  306 

S.  Niccol5  a  Cesarini,  Via  dei  Cesarini,  Somaschi  Fathers  — 

S.  N1CCOL6  DA  FuNARiis,  Via  Tor  de'  Specchi       . .         . .  — 

S.  Niccol6  DEGLI  Incoronati,  Piazza  Padella      . .         . .  — 

S.  Niccol5  DEI  Prefetti,  Campo  Marzio  . .         . .         . .  — 

S.  NiCCOl6  DI  TOLENTINO          .  .             .  .             .  .             .  .             .  .  307 

S.  NoRBERTO,  Via  Agostino  Depretis,  Premonstratensians  . .  — 
S.  Omobono,  near  the  Consolazione   Hospital,  Guild  of 

Tailors        ..         . .         . .         . .         . .         . .         . .  — 

*S.  Onofrio          . .         . .         . .         . .         . .         . .         . .  308 

*S.  Pancrazio 310 

S.  Pantaleo,  on  the  Esquiline,  confraternity  of  S.  M.  del 

Buon  Consiglio       . .         . .         . .         . .         . .         . .  — 

S.  Pantaleo,  Corso  V.  Ema.nue\e,  Fathers  of  the  "  Scuole 

Pie"           — 

*tPANTHEON            ..             ..             ..             ..             ..             ..             ..  311 

Paolina  al  Quirinale,  chapel  of  the  Quirinal  Palace         . .  — 

•Paolina  al  Vaticano,  vide  Part  IV.           . .         . .         . .  — 

*S.  Paolo  FuoRi 112 

S.  Paolo  alla  Regola          . .         . .         . .         . .         . .  312 

S.  Pasquale,  Via  Anicia         . .         . .         . .         . .         . .  — 

SS.  Pasquale  e  Quaranta,  Trastevere,  Headquarters  of 

Spanish  Franciscans           ..          . .          . .          . .          . .  — 

S.  Patrizio,  unfinished  Irish  church     ..          . .          . .          . .  — 

S.  Pellegrino,  by  the  Vatican         . .          . .         . .          . .  — 

SS.  Petronio  e  Giovanni,  by  Farnese  Palace,  church  of 

the  Bolognese           ..          . .          . .          . .          . .          . .  — 

*S.  Pietro  IN  Carcere.  .         ..         ..         ..         ..         ..  313 

*S.  Pietro  IN  MoNTORio          313 

*tS.  Pietro  in  Vaticano         . .         . .         . .         . .         . .  65 

*tS.  Pietro  IN  ViNcoLi 314 

*S.  Prassede 319 

S.  Presentazione,  Via  Milano,  Sisters  of  Charity  of  the  Pre- 
sentation      . .         . .         . .         . .         ....         . .  — 

•S.  Prisca 326 

Propoganda  ("Re  Magi") 328 


THE  CHURCHES  IN  ROME 


365 


•S.   PUDENZIANA    .  . 

•SS.  QuATTRO  Incoronati        

tSS.  QuiRico  E  GiULiTTA,  Arco  de'  Pantani 
S.  RisuRREZiONE,  Under  the  Pincian  Hill,  Polish  Resur- 
rectionist Fathers    . . 

S.  Rocco,  Via  di  Ripetta         

S.  RuFiNA,  Trastevere,  Religious  of  the  S.  Heart 
•S.  Sabba  . . 

*S.  Sabina  

SS.  Sacramento  e  Lorenzo,  Via  Condotti,  confraternity  of 

the  SS.  Sacramento 
SS.  Sacramento  e  cinque  Piaghe,  Via  dei  Baulari,  con 

fraternity  of  the  same  name 
SS.  Sacramento,  in  the  Sancta  Sanctorum  Chapel,  con 

fraternity  of  the  same  name 
S.  Salvatore  in  Campo,  Regola  region 
S.  Salvatore  delle  Copelle,  Guild  of  Saddlers  , . 
S.  Salvatore  della  Corte,  Trastevere     . . 
S.  Salvatore  degli  Invalidi,  chapel  of  the  Hospital  of 

S.  Michele  a  Ripa  .. 
S.  Salvatore  in  Lauro,  near  Via  dei  Coronari    . . 
S.  Salvatore  di  Monti,  Via  Madonna  di  Monti  . . 
S.  Salvatore  in  Primicerio,  Piazza  Fiammetti,  confra 

ternity  of  SS.  Trifone  e  Camillo    .. 
S.  Salvatore  in  Thermis,  Baths  of  Nero  . . 
S.  Salvatore  in  Turrim,  by  Porta  Cavalleggieri 
S.  Salvatore  in  Unda,  Via  de'  Pettinari  . . 
*Sancta  Sanctorum,  vide  S.  Lorenzo  in  Palatio    . . 
•S.  Sebastiano  Fuori   . . 
S.  Sebastiano  della  Polverina     . . 
S.  Sebastiano  a  Scossacavalli,  Via  Borgo  Vecchia,  con 

fraternity  of  the  Corpo  di  Crista    . . 
S.   Sebastiano,   Piazza  di   Spagna,  private  chapel  of  the 
Dominican  Fathers . . 

S.  SiLVESTRO  IN  BiBERATICA 

•S.  Silvestro  in  Capite 
S.  Silvestro,  vide  SS.  Quattro  Coronati     . . 
•S.  Silvia,  vide  S.  Gregorio 
S.  Simeone,  Piazza  Lancellotti,  confraternity  of  S.  Mar- 
garet   

SS.  Simone  e  Giuda,  Via  dei  Coronari 

•S.  SiSTO    

•SisTiNA,  i;2rf«  Part  IV 

S.  Spirito  DEI  Napolitani,  Via  GiuHa,  church  of  the  Nea 

politans 
S.  Spirito  in  Sassia    . . 
S.  Stanislao  DEI  PoLACCHi,  Via  Botteghe  Oscure,  national 
church  of  the  Poles  .. 


PAGE 

328 
332 


334 
334 


104 
135 
338 


338 
339 


341 


342 


366       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


*S.  Stefano  degli  Abissini  . . 
S.  Stefano  del  Cacco,  Via  S.  Ignazio 
*S.  Stefano  Rotondo  . . 
SS.  Stimate,  out  of  the  Corso  V.  Emanuele,  the  confra- 
ternity of  the  Stigmata.  The  present  pope's  mother  is 
buried  here  .. 

SS.  SuDARio,  near  the  Gesu,  chapel  of  the  royal  house  of 
Savoy 
*S.  Susanna 
S.  Tecla,  chapel  of  the  Hospital  of  S.  Spirito .. 

•S.  Teodoro        

8.  Teresa,  Via  dello  Scalone,  chapel  of  the  Carmelites 

♦S.  ToMMASO,  Palazzo  Cenci 

S.  ToMMASO  in  Formis 
S.  ToMMASo  IN  Parione,  in  that  rione 
SS.  TrinitA,  Via  Condotti,  Spanish  Trinitarians     . . 
•SS.  Trinita  DEI  Monti 
SS.  Trinita  a  Monticitorio.  . 
*SS.  TrinitA  DEI  Pellegrini,  Piazza  Pellegrini    . . 
SS.  Trinita  dei  Pellegrini  (Oratory),  Via  delle  Zocco 

lette 

SS.  TrinitI  e  S.  Tommaso,  Via  del  Monserrato,  chapel  of 

the  English  College . . 
S.  Urbano,  Via  Alessandrina,  Benedictine  Chapel 
S.  Venanzio,  Piazza  Ara  Coeli,  confraternity  of  the  Cuore  di 
Maria 

SS.  ViNCENZO  E  AnASTASIO     .  . 
•S.  VlTALE  

S.  ViTO,  on  the  Esquiline,  Polish  Monks 
S.  VoLTO  Santo,  Via  Cavallini 


PACE 


343 


345 
347 

348 


350 
351 


CHAPTER    IX. 

THE  CATACOMBS. 

Introduction  to  the  catacombs — Art — Symbolism — Inscriptions — Objects 
found  in  the  cemeteries — Specimens  of  inscriptions. 

The  word  "catacomb  "  has  been  used  for  many  cen- 
turies to  designate  the  Christian  cemeteries.  It  is 
formed  from  the  Greek  Kara,  and  the  Latin  cumba,  cubo, 
tnciimbo,  and  it  thus  means  the  locus  juxta  sepulcra,  the 
place  by  the  tombs,  or  ad  ccemeteria  [Chnstianorum).'-^' 

From  the  end  of  the  iii.  century,  the  name  Catacunibas 
was  given  to  a  region  of  the  Via  Appia  which  stretched 
for  about  two  miles  from  the  present  walls.  But  the 
true  name  for  the  catacombs  was  cosmetermn  Koifj.rjT'^piov, 
the  place  where  one  sleeps.  Compare  the  Epistle  to 
the  Thessalonians,  iv.  13.+  This  name  is  the  special 
name  given  by  the  Christians  to  their  burying  places. 
It  rarely  occurs  among  the  pagans  ;  and  then  as  apply- 
ing to  the  individual  sepulchre  rather  than  to  the 
general  place  of  sepulture.  De  Rossi  notes  a  case  in 
which  a  sarcophagus  is  called  KOIMHTHPION  ("  Roma 
Sotteranea,"  i.,  p.  83.) 

From  Eusebius'  "Ecclesiastical  History"  (vii.  11, 
13)  we  know  that  the  Roman  emperors  magistrates 
and  the  people  recognised  coemetenum  to  mean  the  Chris- 
tian sepulchres  ;  the  imperial  edicts  speaking  of  "  those 
places  which  are  called  cemeteries." 

*  Another  meaning  has  been  suggested,  deriving  from  (card  and 
K^ftPf)  (Smith's  Dictionary  of  Christian  Antiquities). 
t  KoifM.u)  =  dormitum  duco.     Cf.  the  roots  kh  and  quie. 


368       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

According  to  the  law  which  guaranteed  as  inviolable 
all  places  of  sepulture  declared  by  their  owners  to  be 
religious,  that  is,  appertaining  to  their  cultus  or  sect, 
/  everyone  could  make  a  religious  locum  at  will. 

It  is  of  this  provision  of  the  Roman  law  that  the 
Christians  took  advantage  in  building  their  cemeteries. 
"  Religiosum  autem  locum  unusquisque  sua  voluntate 
facit,  dum  mortuum  infert  in  locum  suum."*  "  Every 
person  makes  the  place  that  belongs  to  him  a  religious 
place  at  his  own  election,  by  the  carrying  of  his  dead 
into  it." 

For  a  long  time  an  erroneous  opinion  obtained  that 
the  catacombs  were  originally  arenaria,  or  the  discarded 
sandpits  from  which  the  Romans  extracted  the  volcanic 
sand  called  arena  {now  pozzolana).  We  now  know  that 
the  catacombs  were  of  purely  Christian  origin,  and  that 
all  the  Christian  cemeteries  were  originally  private 
and  family  sepulchres,  where  the  friends  of  the  owner, 
the  poor,  the  wayfarer,  and  indeed  everyone  was 
admitted  on  the  sole  title  of  being  a  brother  in  Christ. 
Thus  all  the  earliest  cemeteries  were  instituted  in 
private  names,  as  the  property  of  individual  Christian 
citizens,  and  not  as  the  property  of  the  Church. 

The  catacombs  consist  of  an  immense  network  of 
subterranean  passages  and  galleries,  usually  intersect- 
ing at  right  angles,  sometimes  winding,  occasionally  di- 
verging from  a  centre.  These  galleries  vary  in  length, 
height,  and  width.  The  usual  height  is  8  feet,  the 
width  varying  from  2-^,  or  even  less,  to  4  or  5.  The 
roofing  is  sometimes  horizontal,  sometimes  slightly 
vaulted ;  and  is  supported  by  its  tufa  sides  in  which 
are  cut  the  loculi,  or  tombs. 
Soil.  The  region  where  the  catacombs  lie  covers  a  radius 

*  (Marcian),  Justiniani  Digesta,  i.  8,  par.  4,  De  loco  religioso.  Such 
a  place  was  exempt  from  many  of  the  laws  regarding  property ; 
for  example,  it  did  not  pass  with  the  purchase  of  the  land  on 
which  it  was  to  be  found — "  ad  emptores  non  transeunt  "  ;  so  that 
the  right  of  access  to  the  tombs  remained  with  the  vendors. 
These  places  were  loca  religiosa  according  to  Roman  law,  not 
loca  sacra. 


INTRODUCTION  TO  THE  CATACOMBS  369 

of  some  3  miles  outside  the  walls  and  left  of  the  Tiber. 
Its  soil  consists  almost  exclusively  of  volcanic  rocks. 
This  rock,  of  diverse  kinds  and  ages,  is  the  ancient 
tufa  known  as  lithoid,  semi-lithoid,  friable,  and  granular, 
according  to  its  greater  or  less  cohesiveness.  It  is  in 
this  last  that  the  catacombs  are  almost  entirely  ex- 
cavated. The  tufa  granulare  is  a  more  recent  deposit 
than  the  tufa  lithoide,  and  has  been  submerged. 

As  the  Christian  cemeteries  were  excavated  in  land  Areae. 
which  was  the  private  property  of  the  owners  and 
excavators,  if  the  land  did  not  lend  itself  to  excava- 
tion, the  sepulchres  were  built  on  the  surface  of  the 
ground  and  were  then  called  area.  This  system  De 
Rossi  tells  us  was  adopted  principally  in  Africa,  where 
such  cemeteries  were  known  as  area  Christiayiorum. 
The  area  or  land  attached  to  the  sepulchre  of  a  single 
family  was  not  infrequently  2,000  feet  long  and  500 
wide ;  and  enjoyed  the  same  privileges  as  the  monu- 
menUim  or  sepulcrum.  About  the  epoch  of  Constantine 
open  air  cemeteries  began  to  be  made  on  the  same 
area  which  contained  the  excavated  cemeteries.  In 
the  second  half  of  the  iv.  century  the  use  of  these  open- 
air  burial  places  became  normal."  If  however  a 
family  possessed  an  open  air  monumentum,  with  an 
area  attached  such  as  already  described,  it  is  clear  that 
galleries  could  from  the  very  first  have  been  opened 
under  such  area  by  Christian  owners. 

These  areas  were  beautifully  cultivated,  and  came  to 
be  called  Jwrti,  gardens  ;  hence  we  read  that  S.  Timothy 
was  buried  on  the  Via  Ostia  in  horto  Theonis  ;  S.  Nico- 
medes  on  the  Nomentana  in  horto  Justi  ;  S.  Hilaria  on 
the  Via  Salaria  in  horto  Hilaria.  When  the  area  was 
small,  it  was  called  hortulus  ;  hence,  on  the  sarcophagus 
of  a  Christian  man  and  wife,  we  find  written  :  in  sarco- 
phago  in  hortulis  nostris  secessimus. 

A  synonym  of  hortulus  is  agellus,  or  agellulus,  a 
name  we  frequently  find  as  denoting  a  private  burial 
place. 

•  De  Rossi,  Roma  Sotierranea,  vol.  iii.,  p.  623. 

24 


370       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Hypo-  Hypogeum*  is  the  name  given  to  the  subterranean 

geum.  cemetery.  All  these  terms  signify  a  small  private  and 
family  sepulchre,  either  above  ground  or  excavated 
under  an  area  cimiteriale,  adjeda  monumento. 

Jerome  calls  the  entire  sotterranea  crypta  ;  and  hypo- 
geum  is  usually  employed  for  any  region  of  a  catacomb 
composed  of  two  or  several  tracts  agglomerated  as  one 
cemetery.  The  name  for  the  entire  area,  including 
whatever  was  either  below  or  above  ground,  was 
cmneterium  ;  even  the  basilica,  oratories,  or  houses  on 
an  area  cimiteriale,  were  included  in  the  denomination 
ccemeteria.  As  an  example  of  this  usage  we  have  in 
the  Liber  Pontificalis  an  entry  saying  that  Constantius 
"  misit  et  revocavit  Liberium  de  coemeterio  beatae  Agnes 
ubi  sedebat."  (Liber  Pont,  in  Liberia.)  The  date  of 
this  pope  is  a.d.  352-366.  In  the  life  of  S.  Boniface  L 
(a.d.  418)  it  is  said  that  "  Boniface  lived  in  the  cemetery 
of  Sancta  Felicitas  on  Via  Salaria."  This  extension 
of  the  name  cemetery  gave  rise  to  the  common  error 
that  the  Christians  inhabited  the  catacombs. 

From  the  earliest  times  we  find  buildings  over  the 
excavated  ground,  such  as  the  villa  of  the  proprietor 
and  its  dependences,  oratories  and  cubicula  (see  p.  380) : 
and  from  the  epoch  of  the  Peace,  oratories,  chapels, 
and  small  churches  sprang  up  over  the  Campagna, 
and  in  many  cases  were  the  origin  of  the  great 
basiUcas. 
Their  The  number  of  the  catacombs  is  about  45.!     The 

number,  majority  lie  between  the  first  and  third  milestones 
outside  the  Aurelian  wall ;  intramural  burial  being 
strictly  prohibited  by  an  enactment  of  the  Twelve 
Tables.  It  has  been  calculated  that  the  catacomb 
galleries  in  the  immediate  vicinity  of  the  city  would 
measure  876,000  metres,  or  587 'geographical  miles — 
a   very   small   part   of   which  has   as    yet   been   ex- 

*  iirdyaios,  Kariyaiov,  subterranean. 

t  In  HI.  century  there  were  some  25  which  belonged  to  the 
Ecclesia  Fratrum,  and  some  20  which  were  probably  family 
hypogaea. 


INTRODUCTION  TO  THE  CATACOMBS  371 

plored.  Our  knowledge  of  the  extent  of  the  galleries 
is  very  imperfect,  and  therefore  the  attempt  made  by 
P.  Marchi  to  estimate  the  number  of  bodies  buried 
in  the  catacombs  down  to  the  end  of  the  vi.  century  is 
necessarily  little  more  than  guess  work.  He  makes  a 
total  of  6,000,000  bodies. 

Further   research   has   shown  that   5   of  the  cata-  Their 
combs  date  from  Apostolic  times,  and  of  the  remainder,  antiquity. 
the   greater   number   date   back   to   the    11.    century, 
"nearly  all   the   catacombs  are  contemporaneous   in 
their   origin ;"    while  only  about  6   small  cemeteries 
were  excavated  after  the  "  Peace." 

As  the  number  of  converts  to  the  faith  grew,  it  They  are 
was  necessary  to  enlarge  the  first  private  and  narrow  enlarged, 
burial  places,  and  the  work  of  opening  up  other 
hypogaea  contiguous  to  but  independent  of  the  first  was 
commenced.  In  the  iii.  century  these  various  centres 
began  to  be  united  by  communicating  galleries.  It  is 
at  this  date  that  the  cemeteries  begin  to  be  held  as  the 
property  of  the  Church  ;  though  retaining  for  the  most 
part  the  names  of  their  original  possessors  or  founders. 
Each  cemetery  then  became  attached,  as  the  sepulchre 
of  that  region,  to  one  of  the  parish  churches  of  the 
city,  distributed  according  to  the  7  ecclesiastical 
regiones. 

From  this  time  the  catacombs  became  the  openly  ■■  Ecclesia 
possessed  property  of  the  Ecclesia  Fratrum ;  for  it  is  Fratrum." 
by  this  name  that  the  Christians  first  become  cor- 
porate and  public  owners  of  property,  so  that,  as 
De  Rossi  points  out,  when  this  day  came  they  as- 
sumed the  name  of  Fratres  simply  as  their  designa- 
tion. 

Interment  in  these  common  burying- places*  of  the 
Christian  body  signified  from  the  first  discipleship  in 
the  faith,  coheirship  in  the  Christian  hope.     This  feel- 

*  P.  Garrucci  tells  us  that  in  Palestine  there  was  no  idea  of 
common  sepulture  ;  each  individual  had  his  own,  or  each  family 
their  hereditary  sepulchre  (Gen.  xxiii.  17-20;  Isa.  xii.  16.). 
(Garrucci,  Cimitero  degli  Antichi  Ebrei  in  Vigna  Randanini.  Roma, 
1862.) 

24 — 2 


372       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

ing,  which  was  strong  in  the  iii,  century,  became  later 
an  article  of  faith,  and  we  find  Hilary  of  Poitiers  in 
the  IV.  century  interpreting  the  wonderful  words,  "  Let 
the  dead  bury  their  dead  "  as  a  divine  admonition  not 
to  mix  with  the  memorials  of  the  saints  those  of  the 
unfaithful  dead. 

Non  admisceri  memoriis  sanctorum  mortuos  infideles. 
It  is  certain  that  the  sects  also  possessed  their 
cemeteries  near  Rome,  even  as  early  as  the  ii.  and 
III.  centuries.  Epitaphs  from  these  are  not  wanting, 
one  having  been  found  near  the  cemetery  of  S.  Domi- 
tilla,  where  an  arcosolium  with  the  effigy  of  Christ  in 
mosaic  had  this  inscription  of  patripassionist  savour, 
"Qui  et  filius  diceris  et  Pater  in  veneris  "  (Who  art 
both  called  Son  and  found  to  be  the  Father).  It  was 
probably  a  Sabellian  cemetery. 

Fossores.  As  soon  as  the  catacombs  became  the  property  of 
the  body  Christian,  a  class  of  diggers  arose,  for  the 
purposes  of  excavation,  called  fossores.  The  fossores 
were  constituted  from  the  minor  clergy,  and  have 
been  identified  with  the  minor  order  of  ostiarii,  or 
door-keepers.  From  the  first  half  of  the  iv.  century 
the  fossores  began  to  exercise  an  administrative  juris- 
diction over  the  cemeteries.  At  the  end  of  this  cen- 
tury and  the  beginning  of  the  v'*^  inscription-stones 
record  the  purchase  of  burial  spots  in  the  catacombs ; 
but  it  is  supposed  that  money  may  only  have  been 
paid  for  the  sepulchre  when  the  person  desired 
to  purchase  it  in  his  own  lifetime,  since  it  is  to  these 
cases  that  the  inscriptions  usually  refer.  This  reign 
of  the*  fossores  as  administrators  ceased  with  the  close 
of  the  V.  century,  and  Gregory  the  Great  altogether 
abolished  "the  ancient  custom"  of  payments  for  the 
sepulchres,  a.d.  597.* 

A.D.  253.  The  Christians  however  did  not  enjoy  undisturbedly 
even  their  cemeteries :  edicts  of  Valerian  and  Gal- 
lienus  decreed  that  they  should  not  hold  meetings  (con- 

*  6  gold  scudi  is  the  price  paid  for  a  grave  ante  Domna  Enter ita, 
that  is  before  the  tomb  of  the  martyr  Emerita. 


INTRODUCTION  TO  THE  CATACOMBS  373 

ciliabtila)  in  any  place  whatever,  or  enter  the  cemeteries ; 
and  that  anyone  not  observing  hoc  tarn  salubre  pmceptum, 
should  be  beheaded."  The  faithful  of  all  conditions, 
with  bishops,  deacons,  and  presbyters,  were  arrested 
and  punished  because  surprised  in  the  catacombs. 

From  the  time  of  Septimius  Severus  we  find  the 
Christians  abandoning  the  well  known  approaches 
and  constructing  new  entrances  and  new  stairs  to  their 
cemeteries,  so  hidden  that  without  the  clue  it  was 
impossible  to  find  them. 

Valerian  had  confiscated  the  cemeteries  and  goods  a.d.  258. 
of  the  Church,  but  at  his  fall  Gallienus  restored  them.  a.d.  260. 
Forty  years  later  the  condition  of  the  Ecclesia  Fratrum 
was  more  dreadful  than  before,  the  cemeteries  were 
again  confiscated,  and  the  buildings  above  them 
destroyed.  Yet  this  was  the  Eve  of  the  Peace  and  final 
triumph  of  the  Church,  and  even  now  Christianity 
was  about  to  mount  the  throne  of  the  Caesars,  f 

After  the  Peace  of  the  Church  the  catacombs  were 
still  visited  for  devotion,  and  restorations  were  com- 
menced :  the  primitive  physiognomy  was  changed,  the 
crypts  were  enlarged  and  made  lighter — larger  and 
lighter  stairs  were  built,  so  that  the  Christians  could 
easily  visit  the  sanctuaries  of  the  martyrs  without 
having  to  pass  endless  subterranean  tracts.  The  early 
highly  figurative  art  of  the  catacombs  began  —  but 
slowly — to  be  more  explicit,  and  the  sound  of  the 
chiseller's  hammer  long  almost  idle,  was  heard  again. 
The  cemeteries  assumed  a  new  and  triumphant  aspect. 

At    this    date  also   the    burials    began    to    diminish  Constan- 
rapidly,  and  took  place  instead  in  the  basilicas  and  tinian 
chapels  built  above  ground ;  around  and  within  which  epoch, 
new  cemeteries   were    made.      De    Rossi's   tables   of 
statistics  show  that  from  a.d.  338  to  360  a  third  of 
the  faithful  were  already  buried  in  this  way  ;    while 
from  A.D.  364  to  369  it  is  calculated  that  only  one 
half  the  number  of  the  dead  continued  to  be  buried  in 

*  Quoted  in  the  Acts  of  S.  Cyprian, 
t  ArmeHini,  Cimiteri,  p.  119. 


374       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


the  catacombs.  From  a.d.  373  to  400,  a  third  only 
are  buried  there ;  from  400  to  409  the  subterranean 
inscriptions  almost  disappear  ;  from  a.d.  410  there 
are  no  further  indications  of  burial  in  the  catacombs. 
After  this  date,  foreign  bishops  and  others  sometimes 
obtained  the  privilege  of  burial  there  ;  but  this  also 
ceases  after  a.d.  450.* 

But  the  chief  restorations  of  the  catacombs  were 
undertaken  by  Pope  Damasus,  "  the  Pope  of  the 
Catacombs  "  :  he  began  by  searching  for  the  bodies 
of  those  martyrs  which  had  been  interred  and  hidden 
in  times  of  persecution.  We  trace  his  work  in  every 
catacomb,  but  especially  in  the  series  of  inscriptions 
in  verse  and  prose  placed  at  the  tombs  of  the  principal 
martyrs  ;  of  which  many  of  the  originals  have  come 
down  to  us,  while  we  have  the  text  of  many,  and 
fragments  of  hitherto  unknown  inscriptions  are  con- 
tinually being  found. 

This  is  the  epoch  of  the  greatest  expansion  and 
embellishment  of  the  catacombs.  It  was  now  that 
the  era  of  the  pilgrimages  began.  We  must  imagine 
the  impression  which  the  catacombs  made  in  those 
days  of  the  Peace  on  the  Christian  neophytes,  pilgrims 
from  all  parts,  but  especially  Romans  who  read  on 
the  still  intact  tombs  the  inscriptions  recording  their 
own  fathers,  many  of  whom  had  died  for  the  faith 
of  Jesus  Christ.  "  Who  can  describe  the  emotion 
which  they  felt  at  the  sight  of  the  sarcophagus  in 
which  Cecilia  or  Agnes  slept,  or  the  boy  martyr 
of  the  eucharist  Tarsicius.  Or  when  looking  on  the 
chair  red  with  blood  in  which  Pope  Sixtus  II.  had 
been  beheaded,  and  not  far  away  the  tomb  of  that 
very  pontiff  among  1 2  loadi  of  popes,  all  of  whom  had 
been  martyrs  ?  What  glorious  memories,  what  a 
history  of  blood,  of  constancy,  of  heroic  faith,  were  not 

*  The  cemeteries  above  ground  present  no  primitive  marks ; 
all  the  characters  point  to  the  middle  of  the  iv.  century  for  their 
origin  ;  and  the  burials  there  cease  after  the  middle  of  the  vi.  cen- 
tury. But  in  the  hypogaea  there  is  no  mark  whatever  of  a  period 
as  late  as  the  vi.  century,  or  even  of  the  latter  part  of  the  v*. 


INTRODUCTION  TO  THE  CATACOMBS  375 

recorded  in  those  tombs,  altars,  and  inscriptions?" 
(Armellini).  And  Jerome  writes  that  the  people  of 
Rome  leaving  the  ancient  temples  covered  with  cob- 
web and  rust,  and  the  gilded  capitol  squalid  with  dirt, 
pour  forth  from  the  city  and  run  to  the  tombs  of  the 
martyrs.'-' 

We  find  the  record  of  these  affections  in  the  cata- 
combs to-day.  Wherever  the  plaister  of  the  walls 
remains  intact,  the  galleries,  the  stones,  the  images  of 
saints,  are  covered  with  the  names  and  prayers  of  the 
pilgrims.  These  are  known  as  the  graffiti.  They  are  Graffiti, 
written  by  layman  and  cleric,  men  and  women,  of  all 
nations  :  they  consist  of  acclamations,  of  simple  names, 
of  prayers,  and  invocations  directed  to  the  martyrs — 
sometimes  left  unfinished  as  if  from  the  crowding  of 
the  pilgrims. 

The  graffiti  continued  till  the  vii.  century,  up  to 
which  time  the  catacomb  sites  were  well  preserved, 
and  are  of  great  value  in  determining  the  more  impor- 
tant sites  now. 

The  year  410  is  notable  as  that  in  which  Rome  was  History 
besieged  and  sacked  by  Alaric.  In  the  v.  and  vi.  cen-  ^^^^^  '^■ 
turies  the  Goths  besieged  the  city ;  the  soldiery  de- 
scended into  the  catacombs,  and  with  pickaxe  and 
maces  destroyed  all  before  them.  They  violated  the 
tombs  and  sanctuaries,  shattered  the  Damasine  in- 
scriptions, and  sacked  the  cemeteries  of  their  treasures. 
Pope  Vigilius  (538)  in  an  inscription  deplores  these 
terrible  devastations,  and  attempted  a  restoration, 
especially  of  the  inscriptions.  Under  Vitiges,  in  537, 
the  barbarians  had  surpassed  themselves  in  havoc  of 
the  cemeteries,  so  much  so  that  in  the  Liber  Pontificalis 
it  is  recorded  that  "  ecclesiae  et  corpora  sanctorum 
martyrum  exterminata  sunt  a  Gothis  "  (Lib.  Pont,  in 

*  He  says  he  went  every  Sunday  to  visit  the  tombs  of  the 
martyrs  and  apostles  with  other  boys.  "  The  walls  on  either  side 
of  you  as  you  enter  are  full  of  the  bodies  of  the  dead."  There  is 
the  occasional  light  of  the  luminaria  above  you ;  then  you  go 
onward,  becoming  immersed  in  "  utter  blackness  of  night." 


Transla- 
tion of 
bodies 
of  the 
martyrs 
from  the 
cata- 
combs. 


A.D.  752. 

A.D.  771. 


A.D.  795. 


A.D.  817. 


376       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Silvevio).  Interrupted  by  the  wars  of  Totila,  Vigilius 
was  succeeded  by  John  III.  in  the  work  of  restoration. 
Johannes,  says  the  Liber  PontificaHs,  "  amavit  et 
restauravit  coemeteria  sanctorum  martyrum," 

The  invasion  of  the  Lombards  in  the  year  755 
especially  affected  the  suburban  sanctuaries  of  Rome ; 
and  it  was  this  frightful  sacking  which  led  Paul  I.  (757) 
to  open  the  sepulchres  of  the  martyrs  and  remove 
their  bodies  to  the  various  churches  within  the  city. 

Thus  opened  the  epoch  of  the  translation  of  the 
bodies  of  the  martyrs  from  the  catacombs,  the  sys- 
tematic translation  beginning  under  Pope  Honorius 
at  the  end  of  the  viii.  century.  Those  removed  by 
Paul  I.  amounted  to  over  100.  A  list  of  the  names  of 
the  martyrs  whose  bodies  were  then  translated  exists 
in  the  crypt  of  S.  Peter's,  on  a  marble  of  about  the 
VIII.  century;  the  names  of  the  men  together  and  those 
of  the  women  together  (see  S.  Silvestro,  p.  339). 

Stephen  III.  and  Adrian  I.  tried  to  reawaken  the 
devotion  of  the  Christian  people  to  the  catacombs,  and 
to  clear  them  of  the  earth  and  dirt  which  had  accumu- 
lated :  birds'  nests  were  to  be  found  there,  and  many 
crypts  were  transformed  into  stalls. 

Of  Adrian  I.  it  is  recorded  that  he  left  no  one  of  the 
suburban  churches  and  cemeteries  unrestored.  In  this 
work  he  was  succeeded  by  Leo  III.  But  the  city  and 
its  suburbs  were  by  this  time  reduced  to  squalor,  the 
faith  was  lukewarm  in  the  Roman  Christians,  a  bar- 
barian population  was  superimposed  on  the  ancient, 
these  things,  the  sackings  of  the  Campagna,  and  the 
invasions  of  Rome,  together  with  the  new  uses  and 
customs,  all  lent  their  aid  to  forgetfulness  of  the  cata- 
combs, and  finally  to  their  total  abandonment.  Then 
it  was  that  Paschal  I.  was  constrained  to  follow  Paul  I. 
and  continue  the  translation  of  the  bodies  of  the 
martyrs  to  the  churches  within  the  city.  2,300  bodies 
were  removed  by  him,  and  in  S.  Prassede*  exists  the 
original  record  of  what  Armellini  describes  as  that 
•  See  p.  325. 


INTRODUCTION  TO  THE  CATACOMBS  377 

"colossal   translation   of  a   population   of    martyrs." 
The  date  of  Paschal's  record  is  July  17,  817. 

But  more  still  remained,  and  Sergius  II.  and  Leo  IV.  a.d.  844. 
removed  bodies  of  martyrs,  as  is  recorded  in  the  Liber  *^'°-  ^47- 
Pontificalis   under   their   two   names.      The   original 
inscription   placed   by   Sergius   is   in    S.    Martino   ai 
Monti  ;  it  tells  us  that  these  bodies  were  brought  from 
the  catacombs  of  S.  Priscilla,  on  the  Via  Salaria. 

Relics  however  had  been  removed  from  the  cata- 
combs as  early  as  Boniface  IV.  (a.d.  607-615),  who 
removed  a  large  quantity  to  S.  Maria  ad  Marty  res 
(Pantheon). 

We  may  date  the  final  neglect  and  abandonment  to 
the  middle  of  the  ix.  century.     Yet  the  abandonment 
of  the   various   catacombs   was    not    made   contem- 
poraneously.    Access  could  still  be  had  to   some  of 
them,  that  is  to  the  crypts  immediately  under  basilicas. 
Nicholas  I.   attempted   some   restoration   of  the  less  a.d. 
abandoned  portions,  but  he  was  the  last  pope  of  the  858-867. 
middle  ages  to  undertake  any  works  in  them.     From 
this  time  through  the  rest  of  the  middle  ages  we  have  Cata- 
but  few  references  to  the  catacombs.     In  the  xi.  cen-  combs 
tury  we  hear  that  a  pilgrim  obtained  relics  from  "  a  ^"._^^^ 
certain  custodian  of  cemeteries,"  and  went  down  to  a  ^^^  ^ 
cemetery  where  "  there  were  lamps  always  burning."-'' 

Being  thus  utterly  abandoned,  a  hidden  destruction  The  ruin 
succeeded  ;  the  walls  gave  way,  the  buildings  above  of  the 
fell   in,    water   drenched    the    galleries    through    the  ^^^\ 
luminaria  or  the  ancient  stairways.     Thus  in  time  with 
earth  or  other  debris  the  entrances  became  filled  up, 
and  all  access  was  impossible. 

From  this  time  the  catacombs  survived  only  in  the 
legends  of  pilgrims,  "  the  rude  and  heated  fancies  of 
the  pilgrims  of  the  middle  ages."  All  was  mythical. 
The  topography  became  so  confused,  the  memories  so 
uncertain,  that  the  site  of  the  great  catacomb  of  the 
Via  Appia  that  of  S.  CalHstus  became  lost,  and  the 

*  Calmet,  Hist,  de  Lorraine,  t.  iii.,  where  it  is  said  that  this 
catacomb  was  S.  Valentine. 


378       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

generic  name  of  catacombs  was  given  to  the  compara- 
tively insignificant  sotterranea  of  S.  Sebastian,  which 
was  always  known  as  S.  Sebastian  ad  catacumbas. 

On  another  ancient  road,  the  Via  Nomentana,  an 
opposite  confusion  took  place ;  the  large  catacomb 
beyond  the  Basilica  of  S.  Agnese  being  called  the 
catacomb  of  S.  Agnese,  a  name  properly  belonging  to 
the  small  catacomb  under  her  basilica.  Names  were 
altered,  history  forgotten,  the  memories  of  one  ceme- 
tery intertwined  with  the  memories  of  another,  until 
towards  the  end  of  the  middle  ages,  in  the  books 
designed  for  pilgrims  called  libri  indulgentiarum,  there  is 
no  further  mention  of  the  catacombs  of  Rome  ! 

In  the  XV.  century  interest  in  the  cemeteries  begins 
to  reawaken.  In  1432,  in  a  cubiculum  of  S.  Callistus 
Joannes  Lonck  wrote  his  name,  and  this  is  the  first  men- 
tion of  a  visitor  that  we  have.  At  the  same  time  some 
friars  minor  penetrated  the  same  cemetery  by  some 
newly  made  apertures,  and  they  have  left  their  names 
in  charcoal,  with  the  date  viii.  June,  1433.  The  Frati 
continued  to  explore  that  part  of  the  catacomb  until 
1482,  as  w^e  find  their  names  during  that  period. 

There  is  interest  for  us  in  the  record  that  "  mcccclxvii. 
Quidam  Scoti  hie  fuerunt." 

A  discovery  by  some  workmen  on  Via  Salaria  in 
1578  gave  the  first  impetus  to  that  great  work  of 
excavation  which  has  resulted  in  our  own  day  in  the 
restoration  of  the  catacombs  and  of  their  history  at 
least  to  the  knowledge  and  piety  of  the  visitor.  At 
about  the  second  mile  from  the  gate  they  came  on  a 
subterranean  gallery,  intact,  and  rich  with  inscriptions, 
paintings,  and  sarcophagi :  one  of  these  inscriptions 
recorded,  "  Paolina  santa  riposante  fra  i  beati."  It 
will  appear  wonderful  that  in  spite  of  the  interest  and 
admiration  manifested  the  workmen  were  allowed  to 
continue  their  work,  and  the  whole  gallery  with  its 
contents  was  destroyed. 

But  from  that  date  the  studious  began  to  have  access 
to  the  catacombs.     The  Dominican  Alfonso  Ciacconio, 


INTRODUCTION  TO  THE  CATACOMBS  379 

the  Flemish  Philip  de  Winghe,  began  to  study  the 
pictures,  and  to  take  exact  copies  of  them,  until  in 
1592  de  \\'inghe  died.  These  copies  have  been  recently 
found  by  Monsignor  Wilpert.  Another  young  Fleming, 
Jean  L'Heureux,  called  Macario,  studied  and  published 
a  book  on  the  catacombs.     (Macarii,  Hagioglypta.) 

Pompeo  Ugonio,  professor  at  Rome,  was  working  at 
the  same  time,  and  with  him  was  joined  Antonio  Bosio, 
then  a  young  man.  Bosio,  a  Maltese  in  origin,  is  the 
first  explorer  and  has  been  called  the  "  Columbus  "  of 
the  catacombs.  His  book  "  Roma  Sotterranea  "  was 
published  in  1632. '■■  Following  in  his  steps,  P.  Giuseppe 
Marchi,  S.J.,  2  centuries  later,  wrote  a  learned  and 
accurate  work  entitled  "  Monumenti  delle  arti  Cris- 
tiane  primitive  nella  metropoli  del  Cristianesimo," 
Roma,  1844,  1845.  The  magnificent  work  of  Louis 
Perret,  Paris  1852,  1853,  published  at  the  expense  of 
the  French  Government,  is  called  the  "  Catacombes 
de  Rome";  and  in  our  own  day  P.  Marchi's  most 
celebrated  pupil  John  Baptist  de  Rossi  has  completed 
the  work  the  former  had  hoped  to  accomplish,  and  in 
3  great  volumes  (leaving  material  for  a  fourth)  has 
given  us  the  complete  collection  of  all  the  Christian 
inscriptions  yet  found  ;  these  amounting  to  1 1 ,000  up 
to  the  end  of  the  vi.  century. 

Cut  in  the  walls  of  the  galleries  are  the  loculi,^  the  Interior. 

*  A  charming  little  story  relates  that  Antonio  Bosio  (bom  1576) 
began  his  exploiations  in  1593,  and  descending  a  part  of  the 
catacomb  of  S.  Domitilla,  in  the  company  of  Pompeo  Ugonio 
and  of  altri  gentiluomini  curiosi  on  December  10  of  that  year,  they 
were  not  sufficiently  provided  with  light,  and  he  thought  he  had 
lost  the  way  ;  but  his  only  fear  was  ' '  di  contaminare  col  suo 
immondo  cadavere  i  sepolcri  dei  martin  "—that  he  might  con- 
taminate with  his  wretched  body  the  sepulchres  of  the  martyrs. 

A  knight  of  S.  John,  Johannes  Andreas  de  Rubeis,  often  accom- 
panied Bosio,  and  has  left  his  name  inscribed  in  the  crypts. 
Bosio's  work  was  published  after  his  death  at  the  expense  of 
the  order. 

t  The  site  of  each  grave  when  this  was  a  niche  not  a  sarco- 
phagus was  called  locus.  But  the  word  loculi  does  not  occur  in 
Christian  epigraphy. 


Cumicoli. 


Cubicula 
(CubicoU). 


The  cubi- 
culum. 


380       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

quadrangular  niches  or  graves,  of  irregular  size  in  3,  4, 
or  5  tiers,  called  bisomus,  trisomus,  quadrisomus,  if 
they  were  intended  for  2,  3,  or  more  bodies.  These 
loculi  are  closed  by  bricks  or  slabs  of  marble,  placed 
vertically  and  called  tabula  ;  sometimes  the  tabula  is 
of  brick  and  marble  together ;  if  it  is  placed  horizontally 
it  is  called  a  mensa  (table). 

Another  kind  of  sepulchre  is  the  arcosolium  ;  this  is  a 
table  tomb  surmounted  by  an  arch  hollowed  in  the 
tufa,  having  the  appearance  of  an  apsidal  niche.  Some- 
times there  is  a  table  tomb  without  the  arched  niche, 
and  these  are  called  table  sepulchres,  the  ancient  name 
for  them  being  unknown  to  us.  There  are  also  graves 
closed  by  slabs  on  the  ground,  as  we  see  to-day  in  the 
churches.  When  these  graves  are  found  above  ground, 
and  divided  into  compartments,  they  were  called  forma, 
each  compartment  being  called  loctis;  but  the  name  for 
the  similar  subterranean  grave  is  unknown.* 

In  Rome  the  galleries  and  corridors  were  called 
generically  cumicoli,  but  this  name  is  never  mentioned 
in  the  Christian  inscriptions. 

But  besides  all  these,  there  are  small  chambers  called 
cubicles  or  crypts  excavated  at  the  side  of  the  galleries, 
sometimes  square,  sometimes  rectangular,  or  circular, 
or  polygon  ;  at  times  they  are  double,  one  within  the 
other  or  one  at  the  side  of  the  other,  and  then  called 
twin  cubicoli,  and  some  are  quadruple,  4  together. 

In  the  great  Roman  houses  the  cubicuhim  was  the 
chamber  reserved  for  private  reading,  or  as  we  should 
now  call  it  the  study.  The  word  was  also  used  in 
pre-Christian  times  for  small  chambers  near  the  tombs, 
called  cubiculum  memoria  and  cubiculum  superius  ad  con- 
frequentandam  memoriam  quiescentium.  In  the  catacombs 
they  were  family  sepulchres,  being  small  and  narrow 
as  the  burial  places  of  simple  Christians,  but  larger 
and  lighter  when  they  were  the  graves  of  the  more 
illustrious  martyrs,  to  admit  of  a  larger  gathering  of 
persons. 

*  There  are  a  few  instances  ofburialin  marble  urns. 


INTRODUCTION  TO  THE  CATACOMBS  381 

In  these  larger  crypts  the  Christians  held  their 
assemblies,  keeping  here  the  funeral  anniversaries, 
especially  those  of  the  martyrs,  with  chant  of  psalm 
and  the  celebration  of  the  mysteries.  As  these  cubicula, 
chambers  or  crypts,  were  designed  for  a  special  kind 
of  Christian  assembly,  they  are  very  simple  in  form, 
and  without  architectural  decoration.  As  we  have 
said,  their  character  was  private,  they  were  family 
sepulchral  chambers. 

Armellini  says  that  "  il  cubiculum  cimiteriale  deve 
considerarsi  come  una  vera  chiesetta,  come  un  piccolo 
oratorio  sotterraneo  ove  si  celebrava  la  funebre  liturgia 
e  il  sacrificio  eucaristico,  e  dove  si  tenevano  dai  fedeli 
adunanze  piia  o  meno  solenni  per  gli  offici  di  pieta  ai 
defonti."  "  The  cemetery  cubiculum  should  be  re- 
garded as  in  fact  a  small  church,  a  little  subterranean 
oratory,  where  the  funeral  liturgy  and  the  Eucharistic 
sacrifice  were  celebrated,  and  where  more  or  less  solemn 
reunions  of  the  faithful  were  held,  for  the  offices  of  piety 
towards  the  dead." 

From  the  date  of  the  Peace  many  of  these  celebrated 
crypts  or  cubicula  became  the  nuclei  of  basilicas  ;  such 
is  the  origin  of  S.  Lorenzo,  of  S.  Agnese,  of  S.  Paolo  ; 
and  among  minor  basilicas  of  SS.  Petronilla,  Ermete, 
and  Alessandro. 

De  Rossi  points  out  that  the  word  cubiculum  should 
not  be  applied  exclusively  to  underground  sepulchral 
chambers,  since  sepulchral  monuments  above  ground 
were  equally  termed  cubicula. 

The  cubicoli  and  crypts  were  aired  by  shafts,  some- 
times vertical,  sometimes  oblique.     A  shaft  to  give 
light  was  called  a  luminare,  and  there  were  luminaria  Lumi- 
maj'om  and  minora.     Cubicula  so  lighted  were  called  naria. 
cubicula  clara. 

Both  the  air  shafts  and  the  luminaria  appertain  to 
the  period  of  the  persecutions ;  and  there  are  not  want- 
ing instances  of  the  Christians  being  thrown  down 
them,  and  then  stoned  from  the  top. 

The  funerals  of  the  Christians  in  the  first  centuries  Funer- 

alia. 


382       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

were  usually  nocturnal ;  it  was  a  pagan  belief  that  the 
bodies  passing  by  day  under  the  sun  would  foul  the 
air.  The  Christian  burial  even  in  the  times  of  perse- 
cution and  violence  was  not  a  gloomy  or  sad  rite  ; 
though  the  Christians  lived  in  the  immediate  sight, 
often  in  the  immediate  danger,  of  death,  the  conception 
of  it  as  sleep,  the  birthday  to  a  new  life,  passing  through 
the  sleep  of  death,  became  so  vivid  that  it  overpowered 
all  the  near  and  awful  realities  of  violence  and  blood 
and  parting. 

Hence  we  see  their  necropolis  called  Dormitorium 
(Kot[ji.rjTriptov),  and  S.  Jerome  expresses  the  sentiment 
of  the  faithful  and  the  Fathers  both  of  East  and  West, 
when  he  says  in  his  letter  to  Theodosius  "  in  Chris- 
tianis  mors  nan  est  mors,  sed  dormitio,  sed  somnus.''  "Among 
Christians  death  is  not  death,  but  a  taking  of  rest,  a 
sleep." 

Nor  did  they  call  the  departing  from  this  world 
dying ;  but  accersio,*  accersitio.  So  S.  Cyprian  speaks, 
and  so,  especially  in  the  African  Churches,  pracessit, 
recessit,  came  to  be  used  meaning  he  died,  she 
died  ;  and  in  a  very  beautiful  Roman  inscription  we 
have  accersitus  ah  angelis.  In  the  same  way  depositus, 
depositio  was  used  in  place  of  sepultus,  sepultura,  and 
signified  the  gentle  character  of  death,  the  waiting 
character,  the  expectation  and  hope  in  it. 

The  funeralia  themselves  were  quite  unlike  those 
which  succeeded  in  the  perplexed  and  troubled  times 
of  the  middle  ages,  when  the  beliefs  and  rites  of  the 
people  were  so  often  the  reflection  of  their  own  mental 
images  for  things,  imposed  on  Christianity  as  dogma  ; 
ages,  too,  which  differed  profoundly  from  the  first, 
because  their  trouble  and  travail  was  that  of  minds 
and  souls,  the  perplexity  awe  and  fear  of  rude  un- 
tutored minds,  possessing  neither  the  light  and  sweet- 
ness of  the  first  ages,  nor  the  self-conscious  assurance 
of  the  Renascence.  Exercitia  sunt  .  .  .  non  ftmera,  says 
S.  Cyprian  of  these  first  Christian  rites. 

•  Arcesso,  arcessitus — to  be  called,  summoned,  fetched  away. 


INTRODUCTION  TO  THE  CATACOMBS  383 

The  first  religious  rite  was  the  commendatio  anima,  the  *^°"^™^'^" 
name  still  in  use  to-day  for  the  prayers  recited  for  the  ^^**° 
dying ;  these  prayers  as   Le  Blant  has  shown  in  the  ^"^™^- 
Revue  Archeologique  for  October  and  November  1878,* 
are  of  the  greatest  antiquity  ;  the  Biblical  allusions  in 
them  form  the  theme  of  a  constantly  recurring  cycle  of 
subjects  painted  or  sculptured  in  the  catacombs. 

The  Christians  observed  those  natural  rites  common  Rites  of 
to  the  most  civilized  peoples  of  antiquity  ;  and  the  interment, 
customary  Eastern  rite  of  the  unction  of  the  body 
with  aromatic  oils  or  balsams  followed.  Tertullian 
says  that  even  then  Sabia  and  Arabia  sent  more  per- 
fumes for  the  unction  of  the  bodies  of  Christians  than 
were  needed  to  burn  before  the  idols  of  the  Gentiles. 
By  the  iv.  century  the  number  of  Christians  being 
greatly  increased,  this  rite  was  usually  reduced  to  a 
mere  ceremony,  a  few  drops  of  myrrh  and  balsam  being 
dropped  on  the  body.  The  little  glass  or  clay  vases 
which  were  afterwards  walled  in  by  the  side  of  the 
loculi,  served  for  this  purpose ;  and  it  is  in  the  iv.  cen- 
tury that  these  abound  in  the  catacombs.  The  body 
was  laid  down  with  the  arms  resting  at  the  sides. 
Padre  Marchi  tells  us  that  the  greater  number  of  the 
bodies  were  enclosed  in  a  layer  of  cement  or  plaister, 
and  that  after  16  or  17  centuries  this  retained  the 
impress  of  two  stuffs  in  which  the  body  had  been 
wrapped,  one  of  which  was  often  very  fine,  while  the 
outer  one  was  coarser. f  This  stratum  of  plaister  was 
rendered  necessary  for  sanitary  reasons,  especially  in 
the  subterranean  galleries;  but  sometimes  the  bodies 
were  buried  in  richer  garments  and  without  the  layer 
of  plaister.  Towards  the  end  of  the  iv.  century  it 
became  common  for  the  rich  to  bury  their  dead  with 
precious  stuffs.     Sometimes  too  the  rings  of  bronze 

*  "  Les  Bas-reliefs  des  Sarcophages  Chretiens  et  les  Liturgies 
Funeraires." 
t  Prudentius,  the  Christian  poet,  says  : 
"  Candore  nitentia  claro 
Praetendere  lintea  mos  est." 


384       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

or  silver  or  gold  were  left  on  the  fingers,  and  in  the 
V.  century  some  of  the  dead  were  buried  with  crosses, 
medals,  and  reliquaries  round  the  neck.*  These  were 
Encolpii.  called  by  the  Byzantines  encolpii.  Coffins  were  not 
used  by  the  early  Christians. 

The  funeral  liturgy  began  where  the  death  took  place, 
and  ended  in  the  cemetery.  Psalms  were  recited,  and 
the  Eucharistic  sacrifice  celebrated.  The  "  Apostolic 
Constitutions "  say  :  "  Assemble  in  the  dormitoria, 
reading  the  holy  books,  and  -singing  for  the  martyrs 
who  are  fallen  asleep,  and  for  all  the  saints  from  the 
beginning  of  the  world,  and  for  your  brethren  that  are 
asleep  in  the  Lord,  and  offer  the  acceptable  Eucharist, 
the  representation  of  the  regal  body  of  Christ,  both  in 
your  churches  and  in  the  dormitoria ;  and  in  the 
funerals  of  those  who  have  fallen  asleep,  follow  them 
with  the  singing  of  psalms,  if  they  were  faithful  in  the 
Lord."  In  the  most  ancient  Latin  liturgical  code 
which  is  pre-Constantinian,  there  is  a  distinction  made 
between  the  prayers  and  oblations  for  the  martyrs  and 
those  for  the  simple  Christian  ;  the  first  are  mentioned 
as  impetrating  "ne  in  poena(m)  veniamus  excusent,"  the 
second  as  being  prayed  for  by  the  Church,  "  quae  con- 
_  solatione(m)  indigent  ecclesiae  precibus  absolvantur." 
Tertullian  calls  the  liturgy  when  celebrated  for  the 
dead  sacrificium  pro  dormitione,  and  enumerates  this 
among  the  traditional  practices  of  the  primitive  Church. 
The  African  Church  which  forbade  all  priests  to  mix 
themselves  with  the  testamentary  provisions  of  the 
faithful,  to  advise  them  or  to  attest  their  wills,  made  a 
law  anterior  to  the  time  of  S.  Cyprian  that  persons 
who  had  called  in  a  priest  for  such  purpose  should 
not  benefit  by  the  sacrificium  pro  dormitione  after  their 
death. 

The  sacrifice  was  offered  at  the  tomb  itself,  the  arco- 
solium  or  locus  where  the  body  was  laid.     S.  Augus- 

•  A  strange  custom  obtained  of  burying  the  Eucharist  with  the 
dead.  This  was  forbidden  towards  the  end  of  the  vi.  century  by 
the  Council  of  Auxerre. 


INTRODUCTION  TO  THE  CATACOMBS  38$ 

tine  records  his  mother's  words  to  her  two  sons : 
"  Place  this  body  where  you  will ;  let  no  care  for  that 
disquiet  you.  Only  I  beg  you  to  remember  me  at  the 
altar  of  the  Lord  wherever  you  may  be."  For  her 
soul  was  offered  (pro  ea)  *'  sacrificium  pretii  nostri." 
"  Jam  juxta  sepulcrum  posito  cadavere,  priusquam 
deponeretur."  That  is,  "  the  sacrifice  of  our  ransom 
was  offered  for  her,  the  body  being  already  by  the 
sepulchre,  and  before  it  was  deposited  in  it."="  So, 
too,  were  the  parents  and  friends  of  the  martyr  Agnes 
offering  the  sacrifice  at  her  tomb  on  the  day  week  of 
her  deposition,  when  she  appeared  to  them. 

The  procession  to  the  grave  consisted  of  the  faithful 
of  all  ages  and  classes,  with  faces\  in  their  hands, 
singing  hymns  and  psalms ;  such  was  the  procession 
which  carried  S.  Agnes :J  to  her  pradiohim  on  the  Via 
Nomentana,  "cum  omni  gaudio,"  and  such  was  the 
procession  which  was  taking  place  at  about  the  same 
time  with  the  body  of  S.  Cyprian  at  Carthage  "  cum 
cereis  et  scolacibus,  cum  voto  et  triumpho  magno," 
with  lights  and  songs,  with  solemn  offering  and  great 
triumph. 

The  catacombs  may  be  called  the  cradle  of  the 
Church.  It  is  strange  to  find  the  Christian  religion 
which  by  its  very  subject  matter  surpassed  all  previous 
faiths  as  the  religion  of  a  divine  life  and  hope,  laying 
its  foundations  in  catacombs.  There  in  the  place  and 
presence  of  death,  the  religion  of  hope  and  resurrection 
began  to  live.  And  the  possibility  and  significance  of 
this  arises  from  the  very  views  entertained  by  the  new 
faith  concerning  death ;  it  was  mt  death,  in  the  accepted 

•  Confess.,  lib.  ix. 

t  Fax,  a  torch.  Among  the  Romans  this  term  was  specially 
used  for  the  torch  carried  before  the  bride  on  her  way  home. 
But  it  was  also  used  for  the  torch  borne  at  funerals.  "  Inter 
utramque  facem  "  between  marriage  and  death, 

J  By  Roman  law  the  body  of  the  condemned  was  to  be  given  to 
whoipver  asked  for  it  for  burial  {Digest.,  lib.  xlviii.,  24,  3).  Cadu- 
veribus  punitorum :  corpora  animadversorum  quibuslibet  petentibus  ad 
sepulturam  danda  sunt.  This  is  the  law  by  which  the  body  of 
Christ  was  obtained  from  Pilate. 

25 


Symbo- 
lism and 
inscrip- 
tions of 
the  cata- 
combs. 


386       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

sense ;  it  was  death  transfigured  by  the  most  mag- 
nificent of  all  hopes,  the  hope  that  man,  through  death 
as  through  life,  is  '*  a  living  soul,"  and  like  God  Him- 
self, "a  Spirit." 

Their  Master  had  said  "Be  of  good  cheer,  I  have 
overcome  the  world."  The  first  apostles  had  echoed 
His  words  "  O  death  where  is  thy  victory  ?  Death  is 
swallowed  up  in  victory";  and  the  first  believers  took 
this  sirh.ply,  literally.  They  took  death  "  cum  omni 
gaudio";  those  who  were  tortured  and  martyred,  those 
who  left  their  loved  ones,  those  who  laid  those  loved 
ones  to  rest.  The  one  prominent  affirmation  was  that 
man  is  more  than  his  earthly  Hfe,  and  that  the  prize  of 
life  was  greater  than  anything  in  life.  It  is  recorded 
in  the  Second  Epistle  of  Clement  that  Peter  inquired 
of  the  Lord,  "  What  if  the  wolves  shall  tear  in  pieces 
the  lambs?"  and  that  He  answered,  "The  lambs  have 
no  cause  to  fear  the  wolves  after  they  are  dead."  This 
is  precisely  the  teaching  of  the  catacombs. 

Christ's  teaching  was  understood  to  mean  that  by 
sacrifice,  by  loss,  by  apparent  failure,  the  spirit  will 
in  fact  be  renewed,  that  the  life  of  the  kingdom  of 
God  is  so  vivid  a  thing  that  it  springs  up  even  from 
death.  The  history  of  the  catacombs  and  of  the 
martyrs  becomes  intelligible  if  we  suppose  that  they 
suffered  not  only  as  soldiers  at  a  post,  but  as  men  con- 
vinced that  the  success  of  human  life  may  very  well 
consist  with  apparent  human  failure. 

Macfarlane  in  his  little  book  the  "  Catacombs  of 
Rome  "  notices  the  absence  of  all  symbols  of  the  cross 
and  passion  and  agony,  the  association  of  death  only 
with  the  gateway  to  life,  and  says :  "  Far  from  asso- 
ciating with  it  images  of  torture  and  horror,  they 
endeavoured  to  enliven  the  tomb  with  bright  .  .  . 
colours.  .  .  .  Among  all  these  funereal  fragments  and 
remnants  of  the  dead,  you  see  no  sinister  symbol,  no 
image  of  distress  or  mourning,  no  sign  of  resentment, 
no   expression    of  hatred   or   vengeance ;  .  .  .  all  .  .  . 


INTRODUCTION  TO  THE  CATACOMBS  387 

breathe  the  sentiments  of  composure,  gentleness,  affec- 
tion, and  brotherly  love."  And  again:  "On  the  whole, 
it  may  safely  be  assumed,  that  the  catacombs  destined 
to  the  sepulture  of  the  first  Christians,  for  long  periods 
peopled  by  martyrs,  decorated  during  the  persecutions 
of  the  Church,  and  under  the  immediate  dominion  of 
sad  thoughts  and  agonizing  duties,  do  really  offer  on 
all  sides  nothing  but  heroism  in  the  historical  pictures, 
and  in  the  purely  ornamental  part,  nothing  but  grace- 
ful and  cheering  subjects." 

When  we  speak  of  the  art  of  the  catacombs,  we  Art. 
mean  that  system  of  simple  figurative  decoration  em- 
ployed to  represent  the  doctrines  beliefs  and  hopes 
of  Christians  in  which  it  mainly  consists.  Following 
directly  on  the  first  preaching  of  the  Gospel  so  rich  in 
parable  and  the  use  of  symbol  as  the  special  means 
employed  by  Christ  to  enforce  His  doctrine,  the 
catacombs  present  nothing  else  but  pictures  of  His 
parables. 

The  cubicoli  or  crypts  are  the  spots  chosen  for  this 
decoration,  which  is  found  round  tombs  of  the  arcosolia 
type,  and  extends  over  the  walls  and  roofing.  The 
most  highly  decorated  portions  of  catacombs  point  out 
the  resting  place  of  a  martyr  or  martyrs.  Though 
highly  symbolic,  there  is  no  conventionalism  in  cata- 
comb art. 

The  biblical  subjects  employed  have  in  nearly  every 
instance  a  symbolic  meaning,  and  in  considering  them 
we  must  bear  in  mind  that  the  site  of  these  decorations 
was  the  place  of  sepulture,  and  that  a  large  proportion 
of  the  subjects  represented  are  represented  with  some 
reference  to  the  state  of  the  dead,  and  to  death.  The 
antiquity  of  the  liturgical  prayers  for  the  dead,  and  the 
prayers  for  the  dying,  will  be  appreciated  when  we 
compare  them  with  the  subjects  which  the  first  Chris- 
tians painted  in  their  cemeteries.  For  example  these 
prayers  say  : 

"  Libera,  Domine,  animam  servi  tui,  sicut  liberasti  Noe  de 
diluvio." 

25 — 2 


388       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

"  Libera,  Domine,  animam  sen^i  tui,  sicut  liberasti  Isaac  de 
hostia  et  de  manu  patris  sui  Abrahffi." 

"  Libera,  Domine,  animam  servi  tui,  sicut  liberasti  Danielem  de 
lacu  leonum." 

"  Libera,  Domine,  animam  servi  tui,  sicut  liberasti  tres  pueros 
de  camino  ignis  ardentis,  et  de  manu  regis  iniqui." 

"  Libera,  Domine,  animam  servi  tui,  sicut  liberasti  Susannam 
de  false  crimine." 

Jonah.  The  subjects  from  the  Old  Testament  are  the  fol- 

lowing :  Jonah ;  this  frequently  repeated  subject  is 
usually  represented  as  a  cycle — in  the  first  picture  of 
the  series  Jonah  is  cast  from  the  ship,  and  the  whale* 
waits  for  him ;  in  the  second  the  whale  casts  him  on 
shore ;  in  tTie  third  he  is  asleep  under  the  gourd  ;f  the 
fourth  represents  his  waking  to  find  it  destroyed. 

In  Christian  symbolism  this  story  typifies  the  resur- 
rection ;  perhaps  also  the  soul  received  from  the  deep 
and  cast  on  the  celestial  shore.]  Jonas  under  the 
gourd  conyeyed  lessons  of  patience  and  encouragement 
to  the  little  band  of  men  in  "  Nineve  that  great  city  " 
who  believed  themselves  entrusted  with  a  divine 
message  to  it,  and  that  the  destruction  promised  was 
its  moral  not  its  material  demolition. 

Babylon  in  John  and  Peter's  writings,  and  Nineveh 
in  catacomb  symbolism,  were  then  both  early  applied 
to  Rome. 

The  subjects  representing  the  great  deliver atices  are  as 

Susanna,  follows  :  (o)  Susanna  and  the  elders :  this  is  also  some- 
times represented  as  a  cycle ;  the  elders  wait  for  her, 
they  swear  on  her  head  that  she  is  guilty  ;  her  inno- 

*  The  "whale"  is  depicted  exactly  like  the  classical  type  of 
the  sea-monster  in  the  story  of  Andromeda ;  the  same  monster 
may  be  seen  in  the  decorations  of  Pompeii,  and  in  the  recently 
discovered  Station  of  the  Vigiles  (firemen)  in  Rome. 

t  Jerome's  rendering  in  the  Vulgate  is  "  ivy,"  but  in  the  cata- 
combs it  is  always  a  gourd.  Rufinus  sarcastically  remarks  that 
this  great  discovery  of  Jerome's  should  be  published  in  the 
cemeteries,  that  the  dead  might  be  disabused  of  the  error  in  which 
they  had  lived  and  died,  that  Jonah  had  slept  under  a  gourd. 

I  Jonah  is  also  considered  now  to  have  been  emblematic  of 
martyrdom,  and  of  the  short  passage  of  the  martyr  till  he  arrives 
on  the  heavenly  shore. 


INTRODUCTION  TO  THE  CATACOMBS  389 

cency  is  proved  by  Daniel.  This  is  a  figure  of  the 
Church  in  the  world ;  and  also  of  the  new  appreciation 
of  chastity  introduced  by  Christianity.  In  the  cata- 
comb of  Callistus  Susanna  is  represented  as  a  lamb 
between  2  wolves ;  her  name  is  inscribed  over  the 
lamb's  head,  and  "  Senioris,'"  elders,  near  one  of  the 
wolves.  Susanna  is  here  representing  the  lamb  sent 
among  wolves  of  the  gospel. 

(b)  Daniel  among  the  lions :  another  type  of  the  Chris-  Daniel, 
tian's  sufferings  and  his  divine  deliverance.    Daniel  fed 

by  Habbacuc  occurs  also. 

(c)  The  Three  Children  in  the  five  :  the  meaning  is  the  The  3 
same,  with  special  reference  to  the  demand  to  sacri-  children, 
fice  to  idols. 

(d)  The  Sacrifice  of  Isaac  :  the  sacrifice  of  Christ.  It  Isaac, 
is  also  probably  intended  as  a  type  of  "  the  unbloody 
sacrifice,"  the  Eucharist ;  for  Isaac  is  in  fact  more  a 
type  of  the  latter  than  of  Calvary,  for  he  was  not 
really  offered.  One  of  the  meanings  may  be  that  the 
Christian's  true  oblation  is  of  self,  is  the  will.  Some 
reference  to  the  resurrection  from  the  dead  is  also 
probably  implied,  for  in  Heb.  xi.  19  we  read,  "  ac- 
counting that  God  is  able  to  raise  up  even  from  the 
dead.  Whence  also  he  (Abraham)  received  him  for  a 
parable." 

(e)  Noah  in  the  ark :  the  ark  like  the  ship  has  always  Noah. 
been  a  type  of  the  Church,  but  it  is  also  typical  of  the 
waters  of  baptism.  The  deluge  "  cleansed  the  earth 
from  all  its  iniquities,"  and  we  find  S.  Ambrose  assert- 
ing that  the  deluge  was  rather  "  a  regenerating  bap- 
tism "  for  the  world  than  a  punishment.  S.  Peter 
employs  the  ark  as  a  figure  of  the  souls  now  saved  by 
baptism  (i  Pet.  iii.  20,  21).    The  representations  show 

that  this  subject  is  often  intended  to  signify  being 
saved  in  the  ark  of  the  Christian  Church. 

Moses  striking  the  rock :  meaning  the  waters  of  bap-  Moses. 
tism,  the  graces  of  salvation  through  Christ  generally. 
"  That  Rock  was  Christ." 

Adam   and    Eve    after    the  Fall:    this   subject   was  Adam 

and  Eve. 


Parables. 


Miracles. 


Scenes 
from  the 
Gospels. 


Scenes 
from 
common 
life. 


Symbols. 


390       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

intended  to  signify  the  common  law  of  death,  the 
promise  of  a  reparation,  and  the  redemption."- 

The  New  Testament  subjects  employed  are  Parables: 
(a)  Ego  sum  Pastor  Bonus  (vide  infra),  (b)  The 
prudent  virgins. 

Miracles  :  The  healing  of  the  paralytic.  The  woman 
with  the  issue  cleansed.  The  raising  of  Lazarus. 
The  multiplication  of  the  loaves.  The  healing  of  the 
blind  man.     The  change  oT  water  into  wine. 

Scenes  :  Christ  talking  with  the  woman  at  the  well :  this 
the  longest  conversation  of  our  Lord's  recorded  in  the 
Gospels,  is  a  very  favourite  subject ;  it  refers  no  doubt 
to  what  He  says  of  the  water  of  eternal  life,  and  to 
His  revelation  of  Himself  to  the  Samaritan  as  the 
Christ  for  whom  both  nations  looked.  The  offerings  of 
the  Magi  (see  Epiphany,  Part  H.).  The  baptism  of  Christ 
in  Jordan.  The  Supper  at  Emmaiis.  The  Supper  on  tJie 
Shore  of  Lake  Tiberias,  after  the  Resurrection.  The  An- 
nunciation (once). 

Scenes  other  than  biblical  and  symbolic  are  very 
rarely  found  in  the  catacombs  ;  a  shipping  scene  in 
the  Pontian  cemetery,  a  fossor  at  work,  a  woman 
selling  vegetables,  with  one  or  two  more,  and  perhaps 
one  or  two  instances  of  the  agape  which  have  no  refer- 
ence to  the  Eucharist,  complete  the  list. 

All  explanation  of  the  symbolism  of  the  catacombs 
must  take  account  of  the  disciplina  arcani,\  or  discipline 
of  the  secret,  which  existed  in  the  Church  in  the  first 
centuries,  and  which  not  only  aimed  at  keeping  the 
extent  of  the  mysteries  from  the  knowledge  of  the 
Gentile  world,  but  was  also  exercised  as  between  the 
baptized  and  the  catechumens  in  the  Church  itself. 
The  disciplina  arcani  is  the  key  to  much  in  the  early 
symbolism,  early  literature,  and  liturgy  of  the  Church, 

*  A  new  subject  was  found  in  the  cemetery  of  Eugenia  on  the 
Via  Latina :  Job  is  in  fact  referred  to  in  the  prayers  for  the  dead 
— "  Sicut  liberasti  Job  de  passionibus  ttiis  "  (as  Thou  didst  liberate 
Job  from  his  sufferings),  and  in  this  catacomb  he  is  represented 
on  the  dupg  heap  ;  the  only  instance  of  the  subject. 

t  See  Part  II. 


INTRODUCTION  TO  THE  CATACOMBS  391 

which  would  be  otherwise  obscure  or  even  unintel- 
ligible. 

The  most  beautiful  and  one  of  the  most  frequent  Pastof 
images  in  the  catacombs  is  that  of  the  Good  Shepherd.  Bonus. 
Standing  surrounded  by  His  sheep,  or  with  a  lamb  on 
His  shoulder,  or  a  sheep,  or  a  goat,  Christ,  young  and 
gracious,  as  in  all  the  very  earliest  Christian  art,  is 
represented  in  every  part  of  the  catacombs  of  Rome. 
The  allusion  to  Him  as  the  Shepherd  of  His  sheep  and 
the  lover  of  souls,  and  to  His  own  application  of  this 
image,  is  obvious. 

Sometimes  this  beautiful  figure  is  represented  as  we 
have  seen  "caring  for  the  sheep,"  perhaps  with  a 
shepherd's  lute  also  or  leaning  on  his  shepherd's  crook ; 
but  most  often  carrying  the  lamb  on  his  shoulders. 
This  image  became  very  popular  in  the  early  iii. 
century,  when  Zephyrinus  and  Callistus  cited  it  in 
the  controversy  with  the  Montanists,  who  protested 
against  the  reconciliation  of  penitents.  It  was  even, 
engraved  on  the  Eucharistic  Cups.  A  recent  writer 
on  symbolism  notices  that  although  this  image  was  so 
appropriate,  and  clearly  afforded  so  much  delight  to 
early  Christian  minds,  it  was  unknown  after  a.d.  iooo, 
and  is  never  seen  between  the  xi.  and  xvi.  centuries. 

The  most  common  of  all  catacomb  images  is  the  Orante. 
orante,  or  standing  figure  of  a  woman,  or  man,  with  the 
hands  extended,  in  the  ancient  attitude  of  prayer — 
"  lifting  up  holy  hands." 

The  great  majority  of  these  figures  are  female ; 
they  are  of  peculiar  dignity  and  solemnity  ;  draped  in 
the  stola  or  long  garment  to  the  feet,  and  facing  the 
spectator,  these  oranti  look  out  upon  us  in  crypt  after 
crypt  of  the  Christian  cemeteries  with  a  grave  sig- 
nificance. They  personify  the  soul ;  and  the  deceased 
person,  man  or  woman,  is  often  represented  by  an 
orante.  They  signify  prayer.  The  extended  arms 
have  also  an  allusion  to  the  Passion,  as  both  S.  Maxi- 
mus  in  his  56th  sermon  De  cnice  and  TertulHan  Dc 
oratione  cap.  xi.,  record.  • 


392 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Such  a  figure  was  common  also  in  classical  times  ; 
and  here  too  the  figures  were  nearly  always  female. 
A  female  orante  with  a  male  figure  on  either  side  is  a 
type  of  the  Church."'' 

Anchor.  Anchor. — The  most  ancient  of  all  the  Christian 
emblems  is  the  anchor ;  in  the  very  earliest  catacomb 
inscriptions  it  occurs  as  the  only  ornament.  It 
denoted  hope,  and  also  immovable  firmness  and 
patience.  Here  in  the  catacombs,  and  to  the  first 
Christians,  its  appropriateness  in  drawing  attention  to 
the  new  hope  that  had  arisen  in  their  hearts,  and  to 
the  immovability  of  their  lives  so  anchored,  is  evident. 
It  was  also  probably  from  the  first  an  occult  image  of 
the  cross  :  when  birds  are  directing  their  flight  towards 
the  anchor,  the  anchor  there  represents  the  cross. 
Compare  also  the  prayer  in  the  commendatio  anitna  in  use 
to-day,  "  Suscipe,  Domine,  servum  tuum  in  loco  speranda 
sihi  salvationis  a  misericordia  tua."  Receive  Lord  Thy 
servant  into  a  place  of  hope  of  his  salvation  from  Thy  mercy. 

Fish.  Fish, — The  fish  is  a  symbol  found  from  the  very 

origin  of  Christianity,  f  and  has  a  double  signification  : 
(i)  It  represents  the  newly  baptized  soul,  the  Christian 
regenerated  in  baptism  ;  (2)  it  represents  Christ  Him- 
self, and  as  such  is  mentioned  by  TertuUian  and 
Augustine.  The  special  meaning  here  is  the  Person 
of  Christ  under  the  Sacrament  of  the  Eucharist ;  and 
by  it  the  first  Christians  expressed  the  mystery  by 
which  Christ  becomes  the  food  of  man. 

Pisciculus.  Abercius  speaks  of  the  "  Great  and  pure  Fish,"  thus 
distinguishing  between  the  Fish  as  emblem  of  Christ, 
and  the  pisciculus,  the  little  fish,  the  Christian  re-born 
by  baptism. 

*  The  Madonna  is  often  represented  as  an  orante,  and  this 
mode  of  representing  her  was  in  use  in  the  church  till  the 
XI.  century.  A  MS.  in  the  Barberini  Library  has  an  orante  with 
the  word  Ecclesia  written  over  it.  Figures  of  the  Church  and  of 
Mary  have  often  been  interchangeable,  as  was  first  done  in  the 
Apocalypse. 

+  As  an  attribute  in  pictures  it  denotes  great  converting  and 
baptizing  bishops;  Gregory  the  Great  sometimes  has  this  emblem. 


INTRODUCTION  TO  THE  CATACOMBS  393 

IcTHUS. — The  anagram  for  Christ  taken  from  the  Icthus. 
Greek  word  for  a  fish  IX0Y2,  Icthus,  was  used  as 
early  as  the  iv.  century,  but  only  in  Latin  monuments. 
The  letters  forming  the  word  are  the  first  letters  of 
'li](Tov^  XpicTTos  Qfov  Ytos  2wTi//),  Jesiis  Christ  son  of  God 
Saviour.  The  Icthus  then  is  Christ,  the  pisciculus  the 
Christian. 

In  the  catacombs  the  symbol  of  a  fish  occurs  alone 
on  inscription  stones ;  grouped  in  fishing  scenes  ;  and 
finally  in  eucharistic  scenes.  This  archaic  symbol  of 
Christ  falls  into  disuse  after  the  first  half  of  the 
III.  century,  is  very  rare  in  the  second  half,  and  dis- 
appears with  the  end  of  the  persecutions."'' 

Dolphin. — These  animals  were  anciently  considered  Dolphin. 
the  friends  of  man  and  of  sailors  ;  they  were  supposed 
to  accompany  the  latter  in  storms.  In  all  antiquity 
the  real  or  fabulous  qualities  of  the  dolphin  are  praised ; 
among  the  Greeks  it  was  the  saviour  of  the  ship- 
wrecked ;  and  this  special  quality  as  a  saviour  made  it 
a  favourite  fish  emblem  with  the  Christians.  It  has 
been  found  supporting  on  its  curved  back  the  ship  of 
the  Church. 

Trident  and  Dolphin. — In  a  cubiculum  in  S.  Cal-  Trident 
listus,  a  dolphin  is  represented  entwined  with  the  cross,  ^^^ 
occultly  represented  as  a  trident.     In  a  recent  dis-  °°^P"i"- 
covery  in  the  Ostrian  cemetery  a  dolphin  is  in  the  act 
of  devouring  a  serpent. 

Ship. — An  infrequent  symbol.  It  is  a  figure  of  the  Ship. 
Church,  and  of  the  arrival  of  the  soul  at  the  port  of 
eternal  beatitude.  The  pagans  employed  it  as  an 
emblem  of  human  life.  The  symbolism  of  life  drawn 
from  the  sea  is  well  understood  ;  sometimes  the  mean- 
ing of  the  ship  is  made  clearer  by  a  lighthouse  tow^ards 
which  the  boat  sails.  Hippolytus  says  :  "  The  world 
is  a  sea,  in  which  the  Church  like  a  ship  is  beaten  by 
the  waves,  but  not  submerged." 

*  The  form  called  vesica  piscis,  from  the  shape  of  a  fish,  has 
been  adopted  as  the  usual  form  of  ecclesiastical  seals,  and  as  an 
aureole  or  nimbus,  and  is  reserved  for  peculiarly  sacred  subjects. 


Vase. 


Birds. 


394        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Vase. — The  vase  or  cup  is  a  symbol  of  refreshment; 
S.  Perpetua  Martyr  makes  this  use  of  it  in  her  vision 
as  described  by  herself.  S.  Augustine  says  :  "  Jam 
ponit  spirituale  os  ad  fontem  domini  et  bibit  quantum 
potest"  (Confess,  ix.  3).  Already  he  places  his  spiritual 
mouth  to  the  Lord's  fountain,  and  drinks  as  much  as 
he  will.  The  cup  with  wine  in  it,  in  allusion  to  the 
Eucharist,  is  much  more  rare  ;  though  it  is  found  in 
union  with  the  basket  of  loaves  on  the  fish's  back.    In 


Bird  and 
mono- 
gram. 

Peacock. 


t 


the  catacomb  of  Cyriaca  we  have  dionisi  vas 

Dionyse  vessel  of  Christ. 

Birds. — In  catacomb  symbolism  a  bird  means  the 
soul,  or,  in  general.  Christians ;  with  this  signification 
birds  constantly  appear  in  early  Christian  art.  In 
the  cemeteries  they  are  employed  in  various  ways, 
as  follows  :  (a)  They  appear  in  a  garden,  or  perched  on 
trees,  and  then  always  symbolize  the  soul  in  the  joys 
of  paradise.  Many  cubicoli  are  rich  and  glowing  with 
such  decoration.  Two  trees  with  a  large  bird  on  each 
conventionally  express  the  idea ;  and  these  are  found 
sometimes  by  the  Pastor  bonus,  sometimes  in  other 
scenes,  and  also  by  the  saints  and  martyrs,  {b)  On 
inscription  stones,  and  then  usually  pecking  at  bread, 
or  with  a  piece  of  palm  or  olive — representing  the  soul 
fed  by  the  eucharist,  or  having  triumphed,  or  the  soul 
in  peace,  {c)  Drinking  from  a  cup,  pecking  at  a  grape, 
or  perched  on  a  cup  or  bowl ;  and  then  the  meaning  is 
the  same  as  {a)  refreshment  :  that  refrigerium  which  is 
the  commonest  of  all  the  ideas  expressed  in  the  cata- 
combs. 

Bird  and  Monogram. — The  union  of  this  emblem 
of  the  soul  with  the  monogram  of  Christ  signifies 
spiritus  tuns  in  pace  in  Christo. 

Peacock. — The  peacock  which  occurs  frequently  is 
an  ancient  pagan  symbol,  and,  as  the  bird  sacred  to 
Juno,  denoted  the  apotheosis  of  an  empress.  By  the 
early  Christians  it  was  adopted  as  a  sign  of  immor- 
tality, and  occurs  in  the  catacombs  and  on  tombs  till 


INTRODUCTION  TO  THE  CATACOMBS  395 

the  IV.  and  v.  centuries.  It  represents  the  soul  of  the 
deceased  person  itself,  and  we  have  an  instance  of  a 
peacock  with  the  name  of  the  person  over  it,  arcadia  ; 
hence  spirit  in  immortality. 

Dove. — The  special  emblem  of  the  Christian  soul ;  Dove, 
as  the  ornamentation  of  decorated  crosses,  the  apostles 
are  generally  intended.  It  occurs  in  the  catacombs  as 
representing  the  Holy  Spirit,  noticeably  in  a  Baptism 
of  Christ,  where  He  is  represented  as  a  child,  the  dove 
on  His  head. 

Phcenix. — In  the  acts  of  Cecilia,  it  is  said  that  she  Phoenix, 
had  a  phcenix  sculptured  on  the  sarcophagus  of 
Maximus,  as  a  symbol  of  the  Resurrection.  It  is 
found  in  the  oldest  areas  of  CalUstus,  but  in  the  11.  and 
part  of  the  iii.  century  had  not  become  common.  But 
it  is  not  so  rare  as  supposed.  Some  of  the  so-called 
doves  in  the  catacombs  are  really  phoenixes,  and  we 
have  instances  of  both,  with  phcenix  written  over  the 
latter.  The  proper  distinction  is  that  the  dove  has  an 
olive  branch  in  its  beak,  the  phoenix  a  palm  branch. 
The  phoenix  may  or  may  not  have  a  nimbus.  Both 
pagans  and  Christians  had  legends  connected  with  this 
bird  {(fioivi^). 

Pelican. — The  pelican  vulning  herself  is  one  of  the  Pelican, 
most  lovely  of  the  emblems  of  Christ  and  of  the  re- 
demption, and  is  an  early  one.     A  Christian  hymn,  in 
use  to-day,  gives  our  Lord  this  name  :  Pie  Pelicane, 
Jesu  Domine.''' 

Horse. — This  emblem  occurs  on  inscription  stones;  Horse, 
the  allusion  is  to  the  Christian  Hfe  as  a  race.    To  have 
run  in  a  good  race :  "  I  have  finished  my  course." 

Sheep,  Hind,  and  Hart. — The  sheep  as  we  have  sheep, 
seen  represents  the  flock  of  Christ.     A  hart  or  hind  hind,  or 
drinking  represents   the   well   known   words    of    the  ^^'''• 
psalmist,  "  as  the  hart  desires  the  fountains  of  waters, 
so  does  my  soul  pant  after  thee,  O  God."      These 

*  This  symbol  came  into  general  use  from  the  vision  of  Ger- 
trude, who  saw  Christ  under  this  form  feeding  mankind  from  His 
breast. 


396        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

animals  drinking  from  the  river  Jordan  personify  the 
Christian  soul.  In  art  they  typify  piety  and  religious 
aspiration,  and  so  in  the  catacombs  they  signify  the 
faithful. 

Palm.  Palm. — The  palm  is  rare  in  the  most  ancient  in- 

scriptions, where  it  is  considered  to  be  invariably  the 
sign  of  a  martyr,  but  very  frequent  later.  It  is  an 
ancient  classical  emblem  of  triumph  and  victory,  and 
was  early  adopted  by  the  Christians  as  the  universal 
symbol  of  martyrdom  (Apocal.  vii.  9). 

Olive.  Olive. — The  oUve  in   liturgical   literature  and  in 

decoration  signifies  unction,  and  peace.  The  soul 
"anointed  with  the  oil  of  gladness;"  the  emblem  of 
peace  after  the  deluge. 

Fruit  and       Fruit  AND  Flowers. — All  fruit  and  flowers  repre- 

flowers.      sent  the  celestial  garden,  paradise. 

Nimbus.  NiMBUs. — The  nimbus  or  glory  round  the  head  of 
Christ  and  the  saints  is  spoken  of  by  Isidore  and  others 
as  signifying  the  light  of  eternal  glory  with  which  the 
Redeemer  and  the  Saints  are  crowned  in  heaven. 

The  nimbus,  in  use  among  the  pagans  as  the  symbol 
of  power  and  hence  of  divinity,  was  copied  from  them 
by  the  Christians.  In  Byzantine  art  it  is  always  the 
attribute  of  power,  and  from  the  ix.  to  the  xiii.  cen- 
turies appears  on  the  head  of  Satan,  of  prophets 
kings  and  bishops  and  of  Judas,  as  the  attribute  of 
power  or  of  office.  In  the  mosaics  of  S.  Maria  Mag- 
giore  it  appears  on  the  head  of  Herod. 

The  nimbus  first  appears  in  the  iv.  century  for 
Christ  and  the  Blessed  Virgin,  and  over  the  heads  of 
Peter  and  Paul''=  (De  Rossi).  In  the  v.  century  the 
nimbus  is  sometimes  used,  and  sometimes  not.  After 
this  it  becomes  general.  A  figure  in  the  Liberian 
region  of  the  catacomb  of  Callistus,  attributed  by 
De  Rossi  to  the  late  iv.  century,  wears  the  nimbus  ;  it 
probably  represents  the  Blessed  Virgin,  as  it  seems  to 

*  It  must  be  remembered  that  earlier  than  this  it  would  not 
have  been  safe  for  the  Christians  to  invest  their  pictures  with  the 
symbol  of  power  and  divinity. 


INTRODUCTION  TO  THE  CATACOMBS  397 

be  a  female  figure,  or  it  may  represent  the  Redeemer. 
The  nimbussed  figure  is  seated  between  2  standing 
figures,  and  on  the  ground  are  two  scroll-cases. 

The  cruciform  nimbus  is  proper  to  the  Trinity  or  to 
Christ ;  for  the  Trinity  a  triangular  nimbus  is  also 
used.  In  Italy  an  ohlojig  or  almond-shaped  nimbus,  as 
long  as  the  person,  is  employed  for  pictures  of  our 
Lord  and  of  Mary.=''  It  is  occasionally  used  in  pic- 
tures of  Saints  ascending  to  heaven.  From  the  v.  to 
the  XII.  centuries  the  nimbus  Avas  a  plate  or  disc  over 
the  head  ;  from  the  xii.  to  the  xv.  century  it  is  a  broad 
gold  band  behind  the  head,  sometimes  with  the  name 
inscribed,  or  gemmed.  The  nimbus  is  sometimes  of 
various  colours,  blue,  green,  and  red,  but  there  is  no 
uniform  application  of  any  rule  in  the  use  of  them. 

A  sqiiare  nimbus  denotes  a  living  person. 

Crown. — A  crown  is  the  symbol  of  victory  and  Crown, 
recompense.  Among  the  early  Christians  it  was  the 
special  adornment  of  dedicated  women  ;  the  virgins 
were  all  crowned  at  their  profession.  Among  the 
Hebrews  a  crown  was  used  for  the  bride,  and  among 
the  first  Christians  it  signified  a  bride  of  Christ.  The 
crown  is  likewise  the  emblem  of  a  martyr ;  as  martyrs, 
women  in  early  art  generally  wear  it,  and  men  generally 
carry  it  in  their  hands.  S.  Barbara  and  S.  Cecilia  in 
later  art  habitually  appear  crowned.  It  is  also  of 
course  worn  as  an  attribute  of  royalty  by  kings  and 
queens.     It  is  one  of  the  apocalyptic  emblems. 

Some  Modern  Emblems. — In  more  modern  art  a  Some 
sword  represents  martyrdom.     The  axe,  club,  lance,  modem 
arrows,  appear  as  attributes  to  the  saints  who  have  died  emblems, 
by  these  instruments.    A  shell  means  pilgrimage,  James 
the  Greater  and  S.  Roch  appear  with  it.    Adrian  is  the 
only  martyr  who  appears  with  an  anvil.     A  skull  repre- 
sents penance.      A  standard  means   spiritual   victory 
over  death,  idolatry,  and  sin.     It  appears  in  the  hand 
of  Christ  after  the  Resurrection. f    Mihtary  saints,  and 

*  See  Vesica  piscis,  p.  393  7iote. 

t  Mrs.  Jameson,  Sacred  and  Legendary  Art. 


398       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

those  who  preached  the  Gospel  among  the  heathen 
bear  it.  Of  women  saints  2  bear  it,  Ursula,  and 
Reparata.  A  unicorn  is  a  symbol  of  purity,  on  account 
of  the  legend  that  it  could  only  be  captured  by  a  virgin 
"  stainless  in  mind  and  life."  It  appears  only  for  the 
Blessed  Virgin  and  S.  Justina.  A  book  represents 
learning  and  is  the  attribute  of  Evangelists,  apostles, 
and  doctors  of  the  Church,  A  church  signifies  that  the 
saint  who  holds  it  is  the  founder  or  first  bishop,  some- 
times the  protector.  A  scourge  like  the  skull  repre- 
sents penance  ;  in  the  hands  of  Ambrose  it  means  the 
penances  he  imposed  on  Theodosius  and  others.  A 
/laming  heart  denotes  fervour  and  love  :  in  very  modern 
art  this  emblem  has  been  vulgarised.  The  Chalice  and 
Host  represent  Faith.  A  lamp  or  lantern  or  taper  means 
piety,  and  also  wisdom.  Lucia  has  it.  as  denoting 
celestial  light  or  wisdom ;  Gudule,  Genevieve,  and 
Bridget  also  bear  it.  The  apple  in  the  hand  of  the 
Redeemer  or  of  the  Blessed  Virgin  signifies  Redemp- 
tion. The  pomegranate  being  the  emblem  of  the  future, 
means  the  hope  of  immortality.  A  rose  is  a  symbol  of 
the  Madonna''' ;  Cecilia  and  Rosalie  wear  a  wreath  of 
roses.  A  lily  is  emblematic  of  innocence  and  purity. 
Symbol  of  SYMBOL  OF  THE  LioN.  —  The  lion  which  occurs 
the  lion,  especially  in  architecture,  is  an  ancient  Christian 
symbol.  It  is  placed  in  the  porch  of  many  churches, 
sometimes  with  an  animal  or  a  man  in  its  paws;  and 
the  great  pulpit  in  Siena  Cathedral  is  supported  on 
lions  devouring  sheep  or  kids.  The  lion  is  emblematic 
of  Christ,  because  in  prophecy  He  is  spoken  of  as  the 
lion  of  the  tribe  of  Juda.  In  the  middle  ages  the 
lion  was  a  type  of  the  resurrection  on  account  of  the 
popular  superstition  that  the  young  lion  is  born  dead, 
and  in  3  days  is  vitalised  by  the  breath  of  its  sire.  It 
is  a  hermit's  emblem,  representing  the  desert,  and  as 
a  sign  of  fortitude  is  placed  at  the  feet  of  martyrs  who 
suffered  with  peculiar  courage  ;  Natalia  and  Adrian  are 
so  represented.  At  the  feet  of  an  abbot  or  bishop,  it 
*  "  Thou  art  the  Rose  of  Sharon,  and  the  Uly  of  the  valley." 


INTRODUCTION  TO  THE  CATACOMBS 


399 


signifies  that  he  reclaimed  waste  lands  "and  substi- 
tuted Christian  culture  and  civilization  for  the  lawless 
hunter's  life."''=  When  all  this  symbolism  was  for- 
gotten, the  "  symbolism  became  an  incident."! 


CONSTANTINIAN    MONOGRAM    OF    CHRIST. 

This  is  the  monogram   ^^   formed  of  the  Greek  chi 

and  ro,  ch  and  r.  The  legend  is  that  such  a  monogram 
appeared  in  the  sky  to  Constantine  and  occasioned  his 
conversion.  It  came  into  general  use  as  the  Christian 
emblem  in  his  time  and  it  is  hence  called  the  Con- 
stantinian  monogram.  It  may  be  considered  in  a  cer- 
tain sense  the  monument  and  historical  echo  of  the 
great  event  which  changed  the  face  of  the  Roman 
world,  "  in  certo  modo  I'eco  monumentale  e  storico  del 
grande  avvenimento  che  muto  faccia  al  mondo  romano," 
namely  the  conversion  of  Constantine. 

It  is  employed,  though  sparsely,  before  this  period, 
but  then  only  as  a  cryptogram  of  Christ  to  finish  off  an 
inscription.  But  after  the  Peace  it  is  used  as  a  mark 
of  the  Triumph  of  the  Church,  "  come  nota  e  marca 
trionfale  ";  from  this  time  it  heads  inscriptions,  and  is 
no  longer  a  cryptogram  but  a  standard. 


More   ancient   than 


t-^^% 


the   two    first 


letters  of  Jesus  Christ,  I(?7o-ovs)  X(/)io-tos).     The  mono- 
grammatic    cross    between    A    12    from    which    it    is 


-f 

A  I  U) 


never   found   detached   belongs   to   the   first   part  of 
*  Mrs.  Jameson.  t  I^''^- 


400       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

the  IV.  century.     In  the  late  iv.  century  appears  the 


monogrammatic  cross  in  a  circle,  thus  (  — K—  ) .     In 


the  V.  century  the  Constantinian  Monogram  is  the 
more  common  in  Rome.  The  name  of  Christ  seldom 
occurs  in  the  catacombs  ;  the  cryptogram  is  employed 

to  express  it :    m  pace    ^Z     =  in  the  peace  of  Christ, 

in  peace  in  Christ. '■' 
Orpheus.  Orpheus. — Orpheus  sitting  amidst  the  animals,  or 
charming  them  with  his  harp,  is  a  Greek  myth  adapted 
by  the  first  Christians,  and  four  examples  of  it  are  to 
be  found  in  the  catacombs.  The  early  Fathers  allude 
to  it  as  substituting  the  Pastor  Bonus  of  the  parable. 
It  is  Jesus  Christ  calling  mankind,  charming  the  world 
with  the  music  of  his  voice.  In  one  or  two  instances 
there  are  tame  animals  on  one  side  of  him,  as  birds, 
the  peacock,  the  camel,  and  fierce  animals  on  the 
other ;  and  this  typifies  the  two  kinds  of  men  called 
and  charmed,  the  good  who  follow  Christ  by  a  kind  of 
affinity,  the  evil  whose  passions  He  overcomes  by  His 
own  charm.  Or  it  represents  His  voice  on  the  one 
hand  to  the  faithful,  on  the  other  to  the  Gentiles,  f 

*  The  name  Jesus  is  still  more  rare.  From  S.  Domitilla 
comes:  AHMHTPIC  ET  AEONTIA  CEIPIKE  •I'EIAIE  BEXE- 
MERTI  MNHCOHC  IHCOTC  0  KTPIOC  TEKXON. 

Demetrius  and  Leontia  to  Sirica  their  well  deserving  daughter. 
Remember,  Lord  Jesus,  the  child. 
Another  is :  Regina,  vibas  in  Domino  Zesu. 
Regina,  mayest  thou  live  in  the  Lord  Jesus. 
Notice  the  mixture  of  Greek  and  Latin  words  in  the  first ;  and 
that  Lord  is  inserted  before  Jesus  each  time.     For  other  instances 
see  the  Catacomb  of  Domitilla,  p.  505. 

t  Clement  of  Alexandria  exclaims:  "Behold  the  might  of  the 
New  Song  !  It  has  made  men  out  of  stones,  men  out  of  beasts. 
Those  that  were  as  dead,  not  being  partakers  of  the  true  life, 
have  come  to  life  again,  simply  by  being  hearers  of  this  song." 
(Referring  to  the  story  of  Orpheus  and  Eurydice.) 


INTRODUCTION  TO  THE  CATACOMBS  401 

SYMBOLS    AND    SCENES    OF    THE    EUCHARIST. 

The  simple  eucharistic  symbols  and  the  eucharistic  Euchar- 
scenes  can  be  conveniently  grouped  together.     Bread  "^^^^ 
or  a  loaf  is  the  common  emblem.     If  a  fish  is  laid  on  ^™  °  ^ 
or  near  it,  it  means  specially  the  Eucharist,  the  icthis 
in  the  bread  ;  if  a  fish  is  going  towards  it  as  though 
about  to  swallow  it,  the  Christian  fed  on  the  Eucharist 
is  intended.     In  the  catacomb  of  S.  Agnese  there  is  a 
fragment   representing  the  pisciculus  going  towards  a 
piece  of  bread,  with  its  mouth  half  open  ;  under  the 

bread  is  the  Christian  monogram    yK' .     The  bread 

is  divided  in  four  like  a  cross  0,  but  it  must  not 
be  supposed  that  this  came  necessarily  to  have  a 
Christian  meaning.  The  ancients  engraved  bread  in 
this  way  so  that  it  should  be  more  easy  to  divide  when 
baked. 

The  bread  is  often  in  baskets  ;  the  loaves  taken  up  Basket, 
to  the  Bishop  during  the  liturgy  were  deposited  in 
such  coffancc  or  baskets,  and  hence  the  allusion  to  the 
Eucharist  is  distinct,  though  when  there  are  seven 
baskets  the  multiplication  of  the  loaves  is  intended. 
Another  symbol  is  a  fish  with  the  basket  of  loaves 
resting  on  its  curved  back.  Bread  and  fish  together 
on  a  tripod,  which  distinctly  represents  the  altar,  Tripod, 
another.  On  a  bronze  lamp  found  in  the  Ostrian 
cemetery  is  figured  a  ship  and  a  dolphin  in  whose 
mouth  is  the  eucharistic  bread.  The  friend  and 
saviour  of  man  feeds  the  Church  in  its  journey,  with 
the  mystic  bread. 

When   the   bread   is    not   cruciform,   it   is   shaped  Corona. 

\0\  This  is  called  the  covona  and  is  a  very  early 
form  of  the  eucharistic  bread,  the  Eucharist  itself 
being  frequently  called  covona  by  TertuUian  and 
others. 

It  must  be  borne  in  mind  that  Eucharistic  sym- 
bolism in  the  cemeteries  was  employed  with  a  refer- 
ence to  the  life  and  death  of  those  deposited  there  :  it 

26 


402       CHRISTIAN  AND  BCCLESIASIICAL  ROME 

expressed,  for  example,  the  faith  in  the  resurrection — 
"  He  that  eateth  this  bread  shall  live  for  ever."  It 
also  signified  the  food  of  man  on  earth,  his  viaticum  or 
food  on  the  journey,  as  the  trees  and  birds  and  flowers 
represented  the  refreshment  of  eternity.  So  the  scenes 
depicted  in  the  catacombs  may  also  be  divided  into 
two  groups  {a)  the  imagery  representing  the  refresh- 
ment of  the  Church  on  earth,  to  which  belong  the 
Eucharis-  eucharistic  scenes  and  {h)  the  imagery  representing 
tic  scenes,  the  refreshment  of  the  saints  in  heaven,  expressed  by 
birds  drinking  from  or  perched  on  vases,  or  pecking 
at  fruit,  and  by  peacocks  in  a  garden  of  fruit  and 
flowers. 

The  most  usual  of  the  eucharistic  scenes  represents 
7  persons  at  a  semicircular  table  with  bread  and 
fish  before  them,  and  a  cup  or  drinking  vessel.  Near 
are  7  baskets  of  bread. 

This  scene  does  not  represent  the  Last  Supper.  It 
represents  the  Banquet  of  the  Church  on  earth,  the 
mystery  of  the  bread  being  expressed  by  the  fish  and 
by  the  miracle  of  the  loaves,  "seven  basketsful."  Fish 
occur  in  scenes  of  pagan  banquets,  representing  delicate 
meats ;  and  passed  into  Christian  symbolism  because 
in  all  these  representations  of  banquets  Christ  as  the 
food  of  man  was  referred  to.  So  we  find  Him  identified 
with  the  food — He  Himself  is  the  Icthus  ;  as  He  had 
identified  Himself  with  the  other  symbol  of  bread  *'  I 
am  the  bread  which  came  down  from  heaven."  When 
bread  and  fish  are  together,  or  the  fish  laid  on  the 
bread  and  vice  versa,  the  symbolism  may  always  be 
regarded  as  Christian. 

The  scene  of  the  7  persons  at  a  feast  is  also  said  to 
represent  the  event  recorded  in  S.  John  xxi.,  our 
Lord  feeding  the  7  disciples  who  had  landed  on  the 
shore  of  Lake  Tiberias.  It  may  then  mean  the  arrival 
of  the  soul  at  the  eternal  shores,  for  whom  Christ  has 
prepared  a  banquet.  The  broiled  fish  is  an  ancient 
Piscis  emblem  of  Christ's  passion  :  Piscis  assus  Christus  est 
assus.        passus.     Hence  an  occult  and  eucharistic  meaning  in 


INTRODUCTION  TO  THE  CATACOMBS  403 

the  scene  of  the  7  persons  for  whom  our  Lord  has 
prepared  a  broiled  fish  on  the  shore  of  Tiberias. 
Though  such  a  scene  is  much  more  in  the  manner  of 
early  symbolism  than  would  be,  for  example,  a  repre- 
sentation of  the  Last  Supper,  it  is  yet  far  from  certain 
that  these  7  persons  usually  represent  it.  It  had 
been  supposed  that  the  7  persons  were  always  men, 
until  the  discovery  of  the  same  scene  in  the  cemetery 
of  S.  Priscilla  in  1894.  We  should  also  have  expected 
a  tripod  or  fire  in  place  of  the  table ;  and  the  7  baskets 
do  not  appear  appropriate  to  this  subject. 

Where  a  man  or  woman  stands  by  a  tripod,  on  which  Tripod 
is  laid  fish  and  bread,  in  the  attitude  of  prayer,  or  scene, 
pointing  to  the  gifts,  we  have  the  Eucharistic  banquet 
represented  rather  as  a  sacrifice  than  as  a  feast. "■= 

It  has  been  truly  said  "  there  was  hardly  an  object 
in  the  kingdom  of  nature  which  did  not  form  part  of 
the  symbolism  of  the  early  Christians,  who  looked 
upon  the  whole  outward  world  as  a  mirror  wherein 
were  reflected  the  higher  truths  of  the  invisible  king- 
dom, and  as  symbolic  of  salvation  through  Christ. 
Various  kinds  of  animals  were  considered  by  them  as 
types  of  different  quahties  or  virtues,  or  even  as 
emblems  of  the  Saviour,  and  of  Christians  in  general ; 
and  the  middle  ages  carried  on  what  they  found  begun 
in  the  rude  art  of  the  catacombs,  and  in  the  writings 
of  the  early  Fathers,  to  which  the  meaning  of  almost 
all  those  animal  symbols  can  be  traced.!  To  gain 
the  exact  meaning  of  this  complicated  system,  De  Rossi  De  Rossi, 
studied  the  Fathers  who  were  as  it  were  citizens  of  sub- 
terranean   Rome    ("  quasi    cittadini   della    Roma    sot- 

*  The  image  of  heaven  as  rest,  and  refreshment  (Refrigcrium) 
is  as  ancient  as  the  Apocalypse.  "  Yea,  saith  the  Spirit,  that  they 
may  rest  from  their  labours  " ;  and  the  image  of  the  living  bread 
raising  the  dead  in  the  last  day  [Ego  sum  panis  vivus.  .  .  .  Ego 
resuscitabo  eum  in  novissimo  die]  is  found  in  the  Gospel  of  John. 
These  2  subjects  are  employed  in  the  Epistle  and  Gospel  of  the 
mass  for  the  dead. 

t  Symbols  0/  the  Early  Christian  Art,  by  L.  Twining. 

26 — 2 


404       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Adapta- 
tion of 
pre-exist- 
ing types. 


Use  of 
pagan 
models. 


terranea  ")  or  had  preserved  its  memory  and  memorials 
in  their  first  freshness.  The  first  Christians  not  only 
used  images  and  symbols  of  truths,  but  they  sought 
for  such  images  as  would  not  occasion  remark,  and 
they  therefore  adapted  the  figurative  system  already  in 
use.  No  emblem  or  scene  depicted  in  the  catacombs 
would  have  betrayed  the  Christians  to  the  world 
around  them.  But  this  use  of  a  known  symbol  to 
express  something  new,  introduces  a  second  occult 
element  into  the  symbolism  of  the  catacombs.  What 
is  there  expressed  is  doubly  veiled. 

Such  symbolic  references  suited  not  only  the  genius 
of  primitive  times,  but  also,  as  we  have  seen,  the 
necessities  of  the  disciplina  arcani.  Nor  did  the  Chris- 
tians altogether  shun  the  use  of  pagan  objects ;  and 
De  Rossi  points  out  that  they  were  free  of  the  Jewish 
scruples  about  every  little  mythological  figure,  quoting 
an  Arab  text  of  the  apostolical  Constitutions,  attri- 
buted to  Hippolytus,  which  says  that  every  maker  of 
idols  after  baptism  except  they  be  stick  as  pertain  to  man's 
use  (ad  usum  hominum  pertinent)  should  be  excom- 
municated until  he  had  done  penance.  Even  Ter- 
tullian  distinguishes  between  idols  prohibited  idolatria 
causa,  and  those  quce  non  ad  idolatries  titulum  pertinehant, 
or  which  were  used  as  simplex  ornamentum. 

All  Christians  well  understood  this  distinction  ;  the 
story  of  a  martyrdom  in  Pannonia  introduces  us  to 
some  Christian  artificers  who  offered  to  sculpt  Victories 
and  Cupids,  but  when  they  were  ordered  to  make  an 
^sculapius  they  refused,  and  this  cost  them  their  life. 

A  little  Mercury  has  been  found  in  the  catacomb  of 
S.  Domitilla. 

The  Christians  however  preferred  their  own  symbols 
where  possible;  and  Clement  of  Alexandria  says  "  Let 
your  symbols  be  the  dove,  or  fish,  or  the  boat." 


OBJECTS    FOUND    IN    THE   CATACOMBS. 

The    little    objects    found    in    the    catacombs   are 
numerous,  but  of  course  form  only  a  small  part  of  what 


INTRODUCTION  TO  THE  CATACOMBS 


405 


might  have  been  found  there  had  it  not  been  for  the 
sackings. 

Among  glass  utensils  and  ornaments  we  find  balsam  Glass  and 
vases,  which  are  often  walled  in  by  the  loculi,  and  the  earthen- 
ampiilla  which,  similarly  walled  in,  we  know  were  held  ^^^'^®' 
in  the  iv.  century  to  be  the  sign  of  a  martyr's  tomb 
and  to  contain  the  martyr's  blood.     The  contents  of 
some  of  these  have  been  liquefied. 

Glass  and  other  small  objects  generally  date  from 
the  middle  of  the  in.  to  the  middle  of  the  iv.  century. 
Earthenware  vases  and  pots,  some  of  which  are  balsam 
pots,  are  also  common.  Glass  cups  and  chalices  are 
often  found  with  busts  of  Peter  and  Paul  depicted  on 
them.  Gilded  glass  with  the  Madonna,  and  her  name 
inscribed,  is   found   also.      In  an  example  from  the 


FIGURES    OF    PETER    AND    PAUL,    FROM    A    GLASS    VESSEL 
FROM    THE   CATACOMBS. 


catacomb  of  Callistus  the  2  apostles  are  draped  in  the 
pallium,  which  covers  the  hands."  It  is  of  the  iv.  cen- 
tury. In  this  century  medallions  become  common.  Medal- 
lions. 
*  The  figures  of  Peter  and  Paul  which  occur  so  very  often  are 
not  alvvaj-s  historical  figures,  but  rather  symbolical,  meaning  in  a 
general  sense  the  founders  of  the  Church.  Compare  the  symbolic 
use  of  figures  of  Mary,  supra,  p.  392  note. 


4o6       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

The  bust  of  the  deceased  or  of  some  friend,  or  the 
apostles,  or  a  martyr,  or  the  figure  of  Christ,  are  por- 
trayed on  gold  leaf,  soldered  by  fire  between  2  layers 
of  glass.  These  are  found  also  on  the  foot  or  at  the 
bottom  of  glass  cups  and  chaHces.  Nuptial,  mytho- 
logical, and  convivial  scenes  are  also  represented. 
Jerome  calls  them  sancomarias,  and  says  it  was  cus- 
tomary for  the  2  apostles  to  be  portrayed  on  them 
{solent  apostolonim  imagines  adwnhravi). 

Portraits.  In  the  catacomb  of  S.  Agnese  there  is  the  impres- 
sion of  a  large  disc  in  the  tufa  next  to  the  epitaph, " 
bits  of  the  enamel  and  glass  of  its  mosaic  border  still 
remaining.  No  doubt  the  portrait  of  the  deceased  was 
in  the  centre.  These  portraits  are  not  rare  ;  they  are 
found  on  the  slab  which  closes  the  loculus,  and  less 
often  engraved  on  the  cement  round  it.  The  example 
above,  however,  with  its  mosaic  border  is  exceed- 
ingly rare.  Another  was  found  in  the  cemetery  of 
S.  Ciriaca. 

Lamps.  The  lucerna  or  lamps  of  earthenware  or  bronze  are 

all  rude  as  art  and  are  found  of  all  sizes.  Some  have 
the  impression  of  the  fish  on  them,  others  the  gemmed 
cross.  In  other  parts  of  Europe  the  fish  alone,  and 
the  fish  with  loaves,  have  been  found  adorning  lamps 
— a  beautiful  grouping  of  symbolism  perhaps  inten- 
tional ? 

Coins.  Coins  of  the  11.  and  in.  centuries  are  more  frequently 

found  in  the  cemeteries  than  coins  of  the  iv. 

Seals.  Seals  are  often  found,  and  must  not  be  confounded 

with  mason's  marks.  They  are  placed  on  the  loculi 
and  are  sometimes  the  seal  of  the  dead  person  but 
oftener  that  of  the  person  who  closed  the  loculus. 
The  word  spes,  Hope,  on  these  seals  is  often  used, 
and  means  sometimes  the  name  of  the  possessor  and 
sometimes  the  virtue.  Both  spes  and  spes  in  deo 
are  frequent  inscriptions  on  the  seals  of  the  first 
Christians.  One  can  be  seen  in  the  Lateran  Museum 
engraved  on  an  amphora ;  it  is  from  the  catacomb  of 
♦  Severina  to  her  husband  Irenaeus. 


INTRODUCTION  TO  THE  CATACOMBS  40; 

Ciriaca.  It  is  supposed  that  the  Christians  made  a 
reference  to  Matt,  xxvii.  66.  in  the  use  of  these  seals. 
This  foot-shaped  seal  from  thecatacombs  is  anantique=^=; 


This  is  a  modern  copy  of  Castellani's*  : 


On  many  of  the  stones  there  is  a  mason's  mark  Mason's 
showing  that  they  came  from  a  particular  workshop,  marks. 
De  Rossi  has  shown  that  certain  cemeteries  were 
served  by  special  workshops  or  officine.  No  Christian 
symbol  occurs  on  these  till  the  iv.  century,  when  the 
workshop  known  as  the  Claudiana  adopted  the  Chris- 
tian   monogram  :    its   mark   is   a   disc   round   which 

Claudiana  is  written,  with  the    ^K    in  the  centre. 

Other  objects  met  with  are  the  encolpii,  rings,  and  other 
small  articles  buried  with  the  dead.  Many  are  chil-  objects, 
dren's  toys  and  were  found  walled  in  by  the  loculi  of 
children.  Toy  circles  and  rings,  shells,  little  plates 
and  covers,  buttons,  hooks,  ivory  and  iron  pins,  bone 
thimbles,  money,  pieces  of  enamel  ivory  and  stucco, 
are  some  of  the  heterogeneous  assemblage  of  little 
movable  objects.  Besides  these,  the  long  handled 
spoons  called  cochlearia  are  found. f  All  these  things 
and  the  ornaments  found  in  the  loculi  are  exceedingly 

*  We  are  indebted  to  Mrs.  Dent  of  Sudeley  Castle  for  the 
rubbings  of  these  seals. 

t  And  no  other  eating  utensils ;  forks,  as  is  well  known,  were 
not  introduced  in  France  till  the  end  of  xiv.  century,  and  later  in 
other  places. 


4o8        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

rare  in  the  most  ancient  period,  and  very  numerous  in 

the  III.  and  iv.  centuries. 

Sculp-  For  the  first  3  centuries  the  Christians  could  not 

ture.  -^vith  safety  use  the  chisel  as  the  sound  might  attract 

non-Christians  to   the  spot ;    and   therefore   we   find 

Sarco-        painted  decorations.     For  sarcophagi  they  went  to  the 

phagi.        pagan  shops  where  they   chose  those   adorned  with 

indifferent  subjects — the  Kosmic  cycle  and  forces   of 

nature,  or  games  and  hunting  scenes,  which  served 

them  as  allegories.     We  find  the  same  scenes  adopted 

by  the  Fathers  as  figures  of  the  Christian  virtues. 

The  half  figure  of  a  woman,  hardly  detached  from 
the  stone,  sustained  by  2  genii,  was  found  in  the 
Ostrian  cemetery.  The  Pastor  bonus  with  the  lamb 
on  his  shoulders  is  as  rare  in  marble  as  it  is  frequent 
in  painting. 
Mosaic.  There  is  comparatively  little  mosaic   in  the  cata- 

combs ;  and  much  of  what  once  existed  has  been 
destroyed,  leaving  only  the  impression  in  the  plaister. 
S.  Priscilla  is  the  richest  catacomb  in  this  respect. 
The  mosaic  that  remains,  and  even  the  impressions 
are  of  the  deepest  interest :  but  at  other  times  it  is  a 
profound  disappointment  to  see  bare  white  plaistered 
walls,  where  mosaic  had  once  been,  no  trace  of  which 
remains. 

Round  the  plaister  work  of  loculi  a  rude  kind  of 
mosaic  has  been  found  made  of  bits  of  enamel  and 
glass,  so  as  to  form  rude  monograms,  or  the  cross,  or 
geometrical  figures.  In  the  iv.  century  the  vaulted 
roofs  of  arcosolia  were  ornamented  in  this  way. 
Stucco.  There  are   several   cubicula  tastefully  ornamented 

with  stucco  bas-reliefs,  in  the  style  of  the  Painted 
Tombs  on  the  Latin  way. 

CALLIGRAPHY   AND    EPIGRAPHY. 

The  calligraphy  of  the  catacombs,  like  the  painting, 
is  of  all  kinds  from  the  rudest  to  the  finest ;  and  every 
catacomb  contains  specimens  of  both.  For  beautiful 
lettering  we  must  go  to  the  Ostrian  catacomb  or  to 


INTRODUCTION  TO  THE  CATACOMBS  409 

the  cemetery  of  Domitilla  which  as  that  of  the  Gens 
Flavia  presents  the  finest  examples.  Some  of  the 
inscriptions  are  incredibly  rough,  and  appear  to  have 
been  cut  with  the  mattock  of  an  inexpert  fossor,  or  even 
by  the  friends  of  the  deceased. 

Nearly  all  the  inscriptions  are  cut  in  stone  or  marble,  The 
white  on  white  ;  but  sometimes  some  very  rude  and  lettering, 
early  inscriptions  are  painted  in  red  on  brick.     In  the 
catacomb  of  Priscilla  some  exquisite  lettering  is  cut  in 
marble,  and  then  stained  red. 

The   earliest  inscriptions  are  in   Greek,  and   even  Greek, 
when  the  words  are  Latin,  the  Greek  alphabet  is  still 
employed.      This   predominance  of  Greek  lasted  till 
about  the  middle  of  the  in.  century. 

Even    when   the   Latin  is   uniformly  adopted,  the 
Greek  H  is  often  put  in  place  of  the  Latin  E,  pomphe.  Pecu- 
E  is  often  put  when  a  or  i  is  required ;  Z  is  changed  Parities, 
to  J  and  d  to  ^  or  i.     So  x  is  placed  instead  of  s,  as 
xanta  for   sancta.     K  for  c,  Kara,   Cara.     b  is  con- 
stantly employed  for  v — vibas  for  vivas.    In  the  symbol 
A  w  (Alpha  and  Omega)  K  is  sometimes  substituted  A  0. 
for  the  A,  but  whether  from  negligence  or  with  some 
special  significance  we  do  not  know.     Thus  it  appears 
;5j  0).     to  A  is  often  found  instead  of  A  w.     The  most 
ancient  form  of  the  letter  A  is  ^J^^  rufin^J^,  and  this  form 
of  the  letter  marks  the  high  antiquity  of  the  inscription. 

The  earliest  inscriptions  are  the  simplest ;  they  con-  Form 
sist  of  the  name,  or  name  and  surname,  only.     After  of  ^^^ 
this  we  have  the  name  followed  by  some  simple  ejacu-  earhestm- 
lation  :  In  pace.     A  little  later  we  have  simple  affec- 
tionate   inscriptions,   adding    the    number    of    years 
months  and  days  of  the  deceased  person's  life  ;  and 
even  up  to  the  iv.  century  the  titles  are  simple,  though 
very   different    from   the  laconicism  of  the  first  and 
second. 

The  most  frequent  formulae  in  pace  and  benemerenti  do  Epi- 
not  occur  in  the  earliest  inscriptions,  nor  is  the  age  graphic 
given.      Indeed   the  formulary  for  epitaphs  was  not  i^r^" 
adopted  till  the  in.  and  iv.  centuries. 


410       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Later  in-  After  the  absolute  laconicism  of  the  first  period,  and 
scriptions.  the  sober  and  sweet  inscriptions  of  the  next,  we  come 
to  the  long  and  prolix  ones,  which  give  many  details 
and  titles.  These  infallibly  denote  the  later  period. 
Phraseo-  After  the  words  Pax,  pax  tibi,  in  pace,  in  pace  Christi, 
logy-  and  the  expression  Refrigeret  Dens  with  kindred  expres- 

^^-  sions  referring  to  refreshment,  one  of  the  most  frequent 

frigerium.  acclamations   is    Vivas  in  Deo.-'      This   very   ancient 
Vivas.        acclamation  occurs  in  several  forms  : 


In  bono. 


Dulcissi- 
mus. 

Carissi- 

mus. 

Beneme- 

rentum. 

Diis 

manibus. 


Vale. 


VIVAS    IN    DEO 

,,         IN    CHRISTO 

IN    BONO 
,,         IN    PACE 

IN    SPIRITU    SANCTO. 

The  exclamation  in  bono  (in  good)  is  likewise  very 
ancient.  Spiritus  tuus  in  bono  is  equivalent  to  Thy 
spirit  in  God,  or  in  refreshment,  in  good  things.  "In 
bono  in  Christo  "  in  the  good  things  of  Christ. 

Dulcissimus\  and  TAYKYTATOS  is  the  earliest  ex- 
pression of  affection ;  it  is  also  that  peculiar  to  the 
large  cemetery  on  the  Via  Nomentana.  Carissitmcsl 
is  peculiar  to  the  cemetery  of  S.  Priscilla.  Bejie- 
meventuml  takes  the  place  of  dulcissimus  later. 

The  formula  D.  M.  diis  manibus\\  with  which  the 
Gentile  epitaphs  began  is  rare  in  Christian  epigraphy. 
When  it  occurs  the  monogram  of  Christ  is  sometimes 
placed  between  the  two  letters.  De  Rossi  conjectures 
that  the  meaning  intended  may  then  be  Domino  Christo, 
or  Deo  Magno  Christo.  (Cf.  Ep.  ad  Tit.  ii.  13.)  But 
the  2  words  are  sometimes  written  out  as  a  heading  ; 
these  inscriptions  date  from  after  the  Peace  of  the 
Church.  While  the  Christians  were  in  conflict  they 
erased  the  words  diis  manibus  if  they  had  to  have 
recourse  to  stones  so  marked. 

The  word  vale  so  common  in  Gentile  epitaphs,  was 
seldom  used  by  the  Christians.     They  substituted  for 

*  "  Mayest  thou  live  in  God."  f  Most  sweet. 

+  Most  dear.  g  Well-deserving. 

II  To  the  Gods  of  the  under-world  (Manes). 


INTRODUCTION  TO  THE  CATACOMBS  411 

it  the  words  in  pace,  or  the  still  earlier  forms  pax,  pax 
tecum.  When  vale  is  used  we  have  vale  .  .  .  in  pace, 
or  vale  in  Christo ;  and  thus  they  pointed  the  distinc- 
tion between  the  one  farewell  and  the  other.  It  is 
noticeable  too  that  they  chose  a  similar  short  word  as 
a  formula  for  their  own  inscriptions,  and  instead  of  the 
usual  vale  wrote  vivas. 

Dormit,  he  sleeps,  as  an  expression  for  death  is  Dormit. 
proper  to  Christianity.  Dormitio,  in  somno  pacis,  dor- 
mivit-'-  are  therefore  very  frequently  found.  These  and 
the  expression  Dormierit  in  Domino  (may  he  sleep  in 
the  Lord)  are  to  be  seen  especially  in  loculi  of  the  11. 
and  III.  centuries,  and  occur  in  S.  Agnese. 

The  expressions  for  death  recessit,]  pracessit,\   red-  Recessit. 
diditji  are  very  common  in  Christian  epigraphy.     But 
rediit,  to  return,  is  very  rare.     An  instance  occurs  in 
the  catacomb  of  S.  Agnese. 

The  formula  Hie  reguiescit  does  not  appear  on  the  Hie 
most  ancient  inscriptions  ;  but  begins  to  appear  in  the  requiescit. 
IV.  century,  and  in  the  course  of  that  century  becomes 

usual.  

IIP.  (pr.  )  and  PRB  stands  for  presbyter.  PRB. 

Though  in  pace  is  common,  the  expression  vixit  in  "  Vixit  in 
pace  is  rare  in  Rome,  though  frequent  in  Africa.     Pax  P""" 
and  ecclesia  were  often  used  in  mutual  correlation,  and 
Lived  in  Peace  therefore  signifies  lived  in  the  peace,  or  the 
communion,  of  the  Church.     In  Rome  it  generally  occurs 
on  the  sepulchral  epitaphs  of  foreigners. 

Spirita  Sancta  is  used  in  the  iii.  century  for  Spiritus  ••  Spirita 
Sancti:  Spirita  sancta  in  niente  hahete  .  .  .  Spirita  sancta  Sancta." 
petite. 

Natalis,  Natalitia,  the  birthday,  came  early  to  mean  Natalitia. 
the  day  of  decease;  to  this  day  the  day  of  death,  which 
is  that  kept  as  the  feast  of  martyr  or  saint,  is  called 
dies  Natalis. 

In  the  Ostrian  cemetery  on  the  grave  of  a  little  child 

*  A  sleeping.     In  the  sleep  of  peace.     He  slept, 
t  Retire  or  go  back.  I  Go  before,  precede. 

§  Restore,  give  up,  give  back. 


412       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

of  7  who  received  baptism  the  day  before  his  death,  it 
is  recorded  as  the  day  before  his  birthday,  Pridie  NataU 
suo.  Gregory  Nazianzen  (328-389)  tells  us  that  the 
anniversary  of  the  death  was  kept  as  a  birthday,  the 
vestibules  of  the  place  where  the  departed  person  lay 
being  then  adorned  with  green  flowers,  and  crowns, 
and  lights. 

Hence  the  Christian  expression  for  death  natus  in 
pace.     But  before  the  Christian  era   Seneca   had  re- 
minded us  that  this  day  which  we  call  the  last  "  aternis 
natilis  est,''  is  that  which  gives  birth  to  the  eternal  day. 
"  Re-  The  words,  in  Greek  or  Latin,  call  to  mind,  remember, 

member."  are  found  from  the  earliest  period  :  they  recall  the 
ordinary  beginning  of  the  liturgical  commemorations 
both  in  East  and  West :  MvT^a-dfjn  Kvpie,  memento 
Domine.  On  the  walls  of  the  Christian  museum  at  the 
Lateran  among  the  inscriptions  of  Class  IX.  we  have 
examples  of  this.    From  a  sarcophagus  front  we  have : 

MNHCen  0  GfoC  EXrENIEC. 
Remember  O  Lord  Eugenia. 

In  mente  habete  is  another  form  of  the  game  and  is 
used   on   catacomb    inscriptions   (see    S.    Domitilla). 
S.  Cyprian  has  "  Fratres  nostros  ac  sorores  in  mente 
habeatis  in  orationibus  vestris." 
Vigila !  Vigila  is  yet  another  form  of  the  intercessory  ejacu- 

.  lations  of  the  catacombs.     The  allusion  is  to  the  cus- 

tomary nocturnal  vigils  of  the  Christians,  which  were 
known  also  to  the  Gentiles,  as  we  judge  from  Pliny's 
letter  to  Trajan.  The  ejaculation  "  zmtch  "  inscribed 
on  the  tombs  of  the  holy  dead  refers  the  idea  of  the 
Christian  vigil  to  "the  sublime  office  of  the  holy 
souls  who  pray  in  an  eternal  and  blessed  vigil  for 
those  who  recommend  themselves  to  their  prayers."''' 
S.  Jerome  asks  Vigilantius  :  "  Si  apostoli  et  martyres 
adhuc  in  corpore  constituti  possunt  orare  pro  coeteris, 
quando  pro  se  debent  esse  soliciti :  quanto  magis  post 
coronas,  victorias,  et  triumphos?"  If  apostles  and 
*  Armellini. 


INTRODUCTION  TO  THE  CATACOMBS  413 

martyrs  while  yet  in  the  body  could  pray  for  others, 
when  they  still  had  need  to  be  solicitous  for  them- 
selves, how  much  more  after  they  have  received  their 
crown,  their  victory,  their  triumph  ? 

Consular  Dates. — The  2  consuls  for  the  year  were  Consular 
the  highest  officers  under  the  Republic,  and  nominally  dates, 
under  the  Emperors  :  their  names  dated  the  year.* 
They  are  placed  on  inscriptions,  in  the  ablative,  with 
coss.  (consuUbus)  after  them,  as  giving  the  date.  About 
B.C.  154  it  was  decreed  that  the  consuls  should  enter 
on  their  office  on  the  first  of  January.  The  last  Roman 
consul  was  Theodorus  Paulinus  a.d.  536.  There  is  no 
consular  date  for  the  year  410,  that  of  the  sack  of 
Rome ;  the  series  begins  again  the  next  year,  411. 

Before  the  reign  of  Constantine  many  distinct 
families  of  epitaphs,  classifiable  in  chronological  order, 
have  been  recognised  and  arranged  by  De  Rossi. 
But  on  the  laconic  early  epitaphs  the  date  is  not  given. 
As  they  become  more  diffuse,  the  consular  date  begins 
to  appear ;  this  is  towards  the  end  of  the  iii.  century. 
Its  insertion  however  never  becomes  common  till  the 
Peace. 

Titles. — According  to   Roman  nomenclature,  free  Titles, 
men   had    3   names,    the   gentilitium,    the   nomen   or  (Tria 
praenomen,  and  the  cognomen  or  nomen.      Women  nomina.) 
had  only  the  gentilitium  and  cognomen.     The  cognomen 
was  their  name,  the  gentiUtium  their  surname.     Freed 
slaves  used  the  two  names  of  the  house  to  which  they 
had  belonged,  the  third  being  the  name  given  them  by 
their   master.      Female   slaves   used   as   mmen    their 
servile  appellation  and  as  cognomen  the  gentilitium  of 
the  house  in  which  they  were  slaves. 

In  later  epitaphs  the  gentilitium,  or  name  of  the  gens, 
is  omitted.     It  is  infrequent  after  the  year  312. 

The  prefix  clarissimus,  clarissima,  indicates  senatorial  (Clarissi- 
rank.  mus.) 

*  The  Fasti  Consulares,  at  the  Capitol  Museum,  are  the  tables 
of  the  consulates,  kept  as  an  official  chronological  Register  in 
Rome. 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


(Egre- 

gius.) 

(Perfec- 

tissimus.) 

(Sanc- 
tissimus.) 


(Beatus, 

beatissi- 
mus.) 


(Dominus 
Domina.) 


(Coniux.) 


Vir  Egregius  is  the  title  of  the  ratmmles  of  the 
Emperor,  and  indicates  equestrian  rank.  It  is  written 
V.  E.  Under  Constantine  the  rationales  were  styled 
Perfectissimus. 

The  vocable  sanctus,  sanctissimus,  is  found  in  in- 
scriptions of  the  pagans,  and  was  copied  from  them 
by  the  Christians,  who  however  did  not  use  it  by  way 
of  simple  praise  of  the  deceased,  but  to  designate 
those  who  received  a  solemn  and  public  cultus  from 
the  Church  (Bullettino  arch,  crist.,  1878,  p.  40  et  seqq., 
De  Rossi).  It  is  true  that  in  the  primitive  Church  all 
the  faithful  were  called  saints,  but  the  absolute  title 
sanctus,  sancta,  sanctissimus,  sanctissima  was  only 
used  for  those  dead  to  whom  a  solemn  veneration  was 
paid  by  the  rest  of  the  faithful." 

The  word  sanctus  as  the  common  prefix  for  an 
apostle  or  saint  does  not  occur  before  the  v.  century. 

Catacomb  inscriptions  show  us  that  beatissimus,  a,  is 
never  used  except  of  {a)  martyrs,  (b)  confessors  of  the 
faith,  (c)  innocent  children.  And,  in  one  case  which 
has  been  found,  of  a  Virgin  consecrated  to  God.  The 
prefix  Beatus  was  adopted  early  for  the  good  and  holy 
and  for  founders  of  Churches ;  beatus  Petrus,  beata 
Lucina. 

Domnus,  Domna  is  the  most  ancient  appellation  of 
martyrs,  Domna  Emerita,  Domnus  SebastianusA  Domnus 
yielded  to  Domni  Sancti,  and  this  to  Sanctus. 

This  word,  meaning  yoked,  conjoined,  was  used  in 
the  classical  period  more  usually  for  the  wife  than  for 
the  husband  ;  in  the  plural  in  poetry  it  meant  the 
married    pair.      In   Christian   epigraphy   however   it 

*  Damasus,  iv.  century,  adopts  frequently  Sanctus  for  martyr 
in  his  Carmina.  From  the  ni.  century  it  became  usual,  when 
speaking  of  the  site  of  interment  of  many  martyrs,  to  say  "  inter 
sanctos,"  "  ad  sanctos." 

t  In  the  V.  century  it  is  used  as  a  common  title,  and  we  find 
it  even  employed  in  epitaphs  of  husbands  and  wives  ;  Le  Blant 
cites  an  epitaph  to  Domine  coniugi  dukissime  Barbare. 

For  the  title  Dominus,  domina,  vide  Le  Blant,  Inscriptions 
Chretiennes,  tome  i.,  p.  202. 


INTRODUCTION  TO  THE  CATACOMBS  415      . 

occurs  as  the  title  of  husband  and  wife  with  equal 
frequency. 

The  word  alumnus  occurs  often  ;  it  is  the  title  given  (Alum- 
to  children  exposed  by  their  parents,  and  to  whom  the  nus.) 
gentilitium  was  by  law  not  applicable,  while  the  Chris- 
tians were  unwilling  to  call  them  servus.  They  were 
taken  by  the  charitable  who  became  their  masters. 
The  frequency  with  which  this  title  occurs  is  evidence 
that  this  was  one  of  the  first  acts  of  charity  performed 
by  the  Christians ;  the  Christian  women  especially 
making  it  their  business  to  receive  and  train  up  the 
victims  of  this  truly  barbarous  usage. 

The  Christians  did  not  use  the  word  slave,  there  (Servus.) 
is  not  a  single  instance  of  its  use  in  the  catacombs,  (Slave.) 
while  libertus,  freedman,  occurs  very  rarely.  On  the 
collar  of  a  slave  who  had  attempted  flight  we  read 
the  touching  name  Servus  Dei.  Reading  these  epitaphs 
we  should  suppose  slavery  not  to  exist  in  imperial 
Rome  ;  "  the  eloquent  silence  of  the  epitaphs  shows 
that  it  was  really  abolished  in  the  ideal  order  of  the 
Christian  fraternity." '= 

However  the  word  servus  was  used  in  another  sense, 
the  same  in  which  it  is  so  constantly  employed  by  the 
apostles  viz  :  as  bondservants  of  God.  The  husband 
and  wife  on  a  bisomus  tomb  at  Porto  are  called  con- 
servi  del :  De  Rossi  notices  a  beautiful  epitaph  in  which 
the  widowed  husband  calls  his  wife  "conserva  soror  et 
coniux  " ;  or  we  find  conservus,  conserva,  in  Christo. 
Tertullian  in  a  letter  to  his  wife  calls  her  "  Dilectissima 
in  Domino  conserva." 

We  learn  from  different  cemeteries  that  people  who  Name 
bore  the  name  of  a  martyr  liked  to  be  buried  in  his  oi  the 

martyrs. 

*  Lactantius  writes:  Aptid  no$  inter  servos  et  dominos  interest 
nihil,  nee  alia  causa  est  cur  nobis  fratrum  nomen  impertiamnr  quia 
pares  esse  nos  credimus.  Among^st  us  there  are  no  masters  or  slaves, 
nor  is  there  any  other  reasorf  why  we  give  the  name  of  brethren 
except  that  we  really  believe  ourselves  all  equal.  And  in  the 
Acts  of  S.  Sebastian  Cromatius  wished  to  celebrate  his  baptism  by 
liberating  400  of  his  slaves,  saying,  "  Those  who  have  begun  to 
have  God  for  their  Father,  ought  not  to  be  the  slaves  of  men." 


4i6       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

or   her   cemetery,   as   a   Eugenia  in   the  cemetery  of 
Eugenia. 
Sculpting       It  is  certain  that  the  ordinary  sculptors  of  epitaphs 
of  the         were  the  fossors  themselves.     But  in  the  first  period, 
epitaphs.    bgfQj-e  the  creation  of  the  class  of  fossors,  and  the  great 
extension  of  the  cemeteries,  they  would  have  been  cut 
in  the  lapidary  workshops  of  Rome.     For  example, 
those  beautiful  inscriptions  of  S.  Domitilla  and  the 
Ostrian   catacomb.      But  the  Christians   must  have 
painted  rough  inscriptions  themselves  from  the  very 
first,  and  especially  perhaps  in  the  case  of  martyrs,  or 
in  times  of  hurried  and  hidden  burial  during  persecu- 
tions.   After  the  classical  period  the  sculpting  becomes 
much  less  beautiful."'' 

CATACOMB  EPITAPHS :   SOME  EXAMPLES. 

I. — Recessit  Sabbatia  in  somno  pads.    P.  ann.  xxvii. 

Sabbatia  has  passed  away  in  the  sleep  of  peace.     Aged 
xxvii. 

2. — Prima,  vivis  in  gloria  Dei  et  in  pace  Dni  nostri. 

Prima,  thou   livest  in  the  glory  of  God  and  in  the 
peace  of  our  Lord. 

3. — Sabbati  dulcis  anima 

Pete  et  roga  pro  fratres  et  sodales  tuos. 

The  sweet  soul  of  Sabbatus.    Ask  and  beseech  for  thy 
brethren  and  thy  companions. 

4. — Domitianus  anima  simplex  dormit  in  pace. 

Domitian,  single  of  soul,  sleeps  in  peace. 

5. — Atttonia  anima  dulcis  in  pace. 

.  .  .  Dens  refrigeret  .  .  . 
Antonia  sweet  soul  in  peace  .  .  .  may  God  refresh  .  .  . 

6.— Julia  innoc.  et  dulcis.    Mater  sua  sperans. 

To  Julia  innocent  and  dear.     Her  mother  (placed  it)  in 
hope. 

7. — Attict  spiritus  tuus  in  bono  ora  pro  parentibus  tuts. 

Atticus,  thy  spirit  in  gooobthings,  pray  for  thy  parents. 

8.—Jovianus  vivet  in  Deo  et  rogat. 

Jovianus  lives  (will  live)  in  God,  and  prays. 

*  See  infra,  p.  427. 


INTRODUCTION  TO  THE  CATACOMBS  417 

9. — jElia  Bictorina  posuit  Aurelia  Proba. 

iElia  Victorina  placed  it  to  Aurelia  Proba. 
10.— Julia,  Claudia,  and  ^lia  have  obtained  their  loculi  here  by  the 
side  of  their  sweet  friend  Calpurnia  who  rests  in  Peace. 

II. — CLAUDIO   BENEMERENTI   STUDIOSO   QUI    AMABIT   ME.       VIXIT  . 
AN  .P.M.    XXV.      IN  .  P. 

To  well  deserving  and  devoted  Claudius,  who  loved  me. 
He  lived  about  25  years.     In  peace. 
12. — Laurinia  melle  dulcior  quiesc  in  pace. 

Laurinia,  more  sweet  than  honey,  reposes  in  peace. 

13. — FAUSTINA  .  VIRGINI  .  FORTISSIMI  .  QUE   BIXIT  ANN.  XXI. 

The   monogram    in   a   wreath,   between   a    bird    and 
anchor  ;  underneath,  in  pace  (Boldetti). 
i^.— Julia  Agapeni.    Coniugi  Dulcissime.     Qui  vixit  annis  xlv.  M.  Hi. 
D.  Hi.  vid.  et  mecum  annis  xxi.     Laeta  in  pace. 

To  Julia  Agape,  most  sweet  wife,  who  lived  45  years, 
3  months,  and  3  days,  and  with  me  21  years. 
Joyful  in  peace. 

The  following  is  on  an  intact  loculus  :  In  the 

15. — c.  lULiA  AGRiPPiNA  catacomb 

SIMPLICI    DULCIS    IN    .«TERNOM.  of 

(Caia  Julia  Agrippina,  simple  and  sweet,  for  eternity.)    Domitilla. 
One  of  the  marble  slabs  is  of  verde  antico. 
16. — (To  Gentianus  fidelis,  '  Gentian  one  of  the  faithful,'  who  lived 
21  years.) 

IN    ORATIONI  .  .  S    TUIS    ROGES    PRO    NOBIS    QUIA    SCIMUS 


t 


Ask  for  us  in  thy  prayers,  since  we  know  thee  to  be  in 
Christ. 


f 


17. — vincentia  in  j^  petas  pro  phcebe  et  PRO  viRGiNio  EJUS.  From  the 

.  'l^,    .  ,  r      ^,     ,  ,  catacomb 

Vmcentia  m  Christ,  mayest  thou  pray  for  Phoebe  and  Qf  q^\. 
for  her  husband.  list  us. 

The  word  virginius,  Virginia,  for  wife  and  husband,  is  often  to 
be  found  on  Christian  epitaphs,  and  means  one  who  was 
their  wife  or  husband  a  virginitate. 
18. — Secundus  et  Rufna  filics  dulcissimee  hunc  F/unus  scritura  intra  From  Via 
nos  vii  manotnisimus  tujam  cariiatem  filia  dulcissima  Salaria. 
sin.  na,j  Hi.  k  .  s. 
This  tells  us  that  during  the  funeralia  of  their  daughter,  her 
father  and  mother  by  a  mutual  script  had   manumitted 
7  slaves,  as  a  charity  done  by  their  dead  daughter,  and  for 
her  sake. 

27 


4X8        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

A  widowed  husband's  inscription  to  his  wife  begins : 
19. — Hie  semper  mihi  dolor  erit  inmvo  /  Et  tman  Benerabilem  vulttim 
liceat  videre  sopor e  coniux  Albana. 
'  This  my  grief  will  be  always  with  me.     May  it  be 
given  me  to  behold  thy  revered  countenance  in 
sleep,  my  wife  Albana.' 

20. — PETE   PRO   PARENTES   TUOS    MATRONATA   MATRONA   QDIVIXIT 
AN°  I  .  D  .  LII. 

Pray  for  thy  parents,  Matronata  Matrona,  who  lived 
I  year  52  days. 
Another  inscription  ends : 
21. — Ispiritus  tuus  bene  requiescat  in  Deo. 

'  May  thy  spirit  rest  well  in  God.' 

From  22. —  DMA    SACRUM 

the  cata-  leopardum  in  pacem 

comb  of  CUM   SPIRITA   sancta   accep 

CastuluS.  TUM    EUM    HABEANT    IS   INNOCENTEM 

POSUER  .  PAR  .  Q  .  AN  .  N.    VII.  MEN  .  VII. 

Diis  manibns  sacrum.  Leopardus  in  peace  with  the 
holy  Spirits.  May  they  receive  this  innocent  one 
into  their  company.  His  parents  placed  it.  He 
lived  7  years  and  7  months. 

23.— XAIPH  TTXH  ^I'TXH  KAAH  TTXH  eTFATHP. 

(In  rough  letters    without    punctuation.)      Farewell, 
Tuche,  fair  soul,  Tuche,  my  daughter.* 
One  to  a  '  faithful  bond-servant  of  God  '  says  : 
From  24.— EKOIMHGH   EN    EIPHNH    MNHCGH   ATTOT   0    GEOC 

S.  Domi-  EIC  TOTC  AIONAC. 

tilla.  He  sleeps  in  peace.    May  God  remember  him  for  ever. 

From  25.— OTMBIft)  TATKITATH 

the  cata-  OMONOIOC  AOMNH 

comb  of  (anchor)  EN  AFAIIH. 

Eugenia.  To  his  most  sweet  wife,  Homonoios  (He-who-is-of-like- 

mind)  to  Domtta  (his  lady).     In  love. 
Early  in.  century.    The  very  rare  form  in  Agape  is  here  used 
in  the  sense  oivivis  in  pace,  in  bono,  in  Christo,  in  Deo. 


Note  the  rare  use  of  lUiJXV,  Tyche,  as  a  personal  name. 


INTRODUCTION  TO  THE  CATACOMBS 


419 


LIST  OF  ROMAN  CATACOMBS. 


,^,„„   „..,„  NAME  AFTER  THE    PEACE  OF 

PRIMITIVE   NAME.  ^^^   CHURCH. 

Via  Appia  ....     Lucinae    Callistus. 

Ad  Catacumbas     S.  Sebastianus. 

Balbinae Balbina   or    S.    Mark 

(Balbina    sive    S. 
Marci). 

Praetextati  SS.   Urban,   Felicissi- 

mus,  Januarius,  Aga- 
pitus,  etc. 
Ccemeterium      near       the 
church  called  La  Nunzi- 
atella. 
NOMENTANA  . .     Hortus  Justi  (inacces- 
sible)         S.  Nicomedes. 

S.  Agnetis   S.Agnes. 

Ostrianum Ccemeterium  Majus. 

Fontis  S.  Petri. 
Ad  Nymphas  S.  Petri. 
S.  Alexandri  (outside 

the  zone)     S.  Alexander. 

Salaria 

Vetus  ....     Basillae    8.   Hermetis  (Basilla, 

Protus,   &   Hyacin- 
thus). 
[Pamphylus.]  * 

Liberalis.t 

Salaria 

Nova   ....     Maximi    S.  Felicitas. 

Thrasonis    Thrasus  ad  S.  Satur- 

ninum. 
Arenaria   Jordanorura 
&    Hortus    Hilariae 

(inaccessible) S.  Alexander,  Vitalis, 

&    Martial    &     vii. 
Virgines,  SS.  Chris- 
anthus  &   Daria,  & 
S.  Hilaria. 
Priscillae Priscilla. 

[Novella.] 

•  Catacombs  placed  in  brackets  in  the  centre  are  those  con- 
structed after  the  Peace.  Names  in  smaller  type  are  small  and 
unimportant  catacombs. 

+  In  the  region  Clivus  Cucumeris,  called  a.\so  Ad  Septem  Columbas, 
or  Ad  caput  S.  Joannis. 

27 — 2 


420       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


,  ,   .,  .„„  NAMB  AFTER  THE   PEACE  OF 

PRIMITIVE  NAME.  ^^^  ^.„„j^^„^ 

OsTiA Lucinae        (Tropaeum 

Pauli  Apostoli)  (in- 
accessible)       Sepulchre  of  Paul  the 

Apostle  in  the  field 
of  Lucina  (Sepul- 
crum  Pauli  Apostoli 
in  prsedio  Lucinae). 
Commodillae  (inac- 
cessible)       SS.  Felix  &  Adauctus. 

S.  Timothei  in  hortoTheonis. 
S.  Thecte. 
S.  Zenonisi. 

AuRELiA Octavillae    Octavilla    &    Pancra- 

tius. 
Lucinae  (inaccessible)       Processus  &  Martini- 
anus     (also    known 
as    S.    Agathae    ad 
Girulum). 
Calepodii      (inaccessi- 
ble)       S.     Callistus     or     S. 

Julius  Via  Aurelia. 
(CaUisti  vel  S.  luli.) 
[S.  Felix] 
(Felicis  duo 
Via  Aurelia) 
Two  anonymous  cemeteries. 

Latina    (Gordiani  &  Epimachi) 

inaccessible     Gordianus  &  Epima- 

chus;  or  SS.  Sim- 
plicius  &  Servili- 
anus,  Quartus  & 
Quintus  &  Sophia  ; 
or  Gordianus. 

Tertullini  S.  Tertullinus. 

Aproniani     (inaccessi- 
ble)       S.  Eugenia. 

Sepolcreto  of  Asciatics. 

Ardeatina    . .     Domitillae    S.   Petronilla,   &    SS. 

Nereus  &  Achilleus. 

Basilei    Marcus  and  Marcellianus. 

[Balbina] 
(SS.  Mark  & 
Balbina) 
Cornelia,  or 

Triomphalis..     Tropaeum     b.      Petri 
Apostoli,  or  Hortus 


INTRODUCTION  TO  THE  CATACOMBS 


421 


I'KIMITIVE   NAME. 


Triumphalis. 


Li  via 


NAME  AFTER  THE   PEACE   OF 
THE  CHURCH. 

(Memoria  Petri  Apos- 
toli  et  sepulturae 
episcoporum  in  Vati- 
cano.)  Memorial  of 
Peter  the  Apostle, 
and  sepulchres  of 
the  Bishops  in  the 
Vatican. 


POKTUENSIS    . 

Pontiani     ad     Ursum 

Pileatum 

SS.AbdonandSennen. 

[Generosa] 

(Generosa,  &  Simplicianus 

&  Beatrix  etc.) 

outside  the  zone. 

[Julius] 

(Julii.  Mill,  iii.) 
(S.  Felicis  Via 

Portuensis) 

TlBURTINA  .  .  . 

.     Cyriacae  (part  accessi- 

ble)    

Ciriaca    (S.     Lauren- 
tius). 

(Hippolyti)  part  acces- 

S.  Hippolytus. 

Two  small  Hypog<ea. 

Labica.na   ... 

.     Ad  duas  Lauros     .... 

SS.  Petrus  &  Marcel- 
linus  &  Helena,  or 
Gorgonius,    or    Ti- 
burtius. 

(Castuli)  inaccessible 

S.  Castulus. 

Flaminia    . . . 

i     Sabinillae     

S.  Valentinus. 

Cassia    

.      Anonymous    cemetery  near 

S.  Onofrio  in  Campagna. 


CHAPTER  X. 

Via  Appia  :  catacombs  of  S.  Callistus,  Sebastian,  Pratextatiis,  Villa 
of"Marmenia,"  La  Nunziatella — Via  Ardeatina  :  catacombs  of 
Balbina,  Domitilla,  Basileus — Via  Nomentana  :  catacombs  of 
S.  Nicomede,  of  S.  Agnese,  Ostrian— Via  Salaria  Vetds  : 
Hermetis,  Liberale—SAi^ARW  Nuova  :  Felicitas,  Thrasus,  Jor- 
danorum,  Priscilla,  Novella — Via  Ostia  :  Lucina,  Commodilla, 
Timotheus,  Thecla,  Zeno  —  Via  Aurelia  :  Octavilla,  Lucina, 
Calepodius,  Felix,  2  anonymous  ccjneteries — Via  Latina  :  Gor- 
dianus  &  Epimachus,  Aproniani,  Tertullinus,  Asiatic  sepulchre — 
Via  Cornelia  :  Memoria,  or  Trophy  of  Peter — Via  Por- 
TUENSE  :  Pontianus,  Julius — Via  Tiburtina  :  Cyriaca,  Hippo- 
lytiis,  2  small  hypogaa — Via  Labicana  :  Peter  6-  Marcellinus, 
Castulos — Via  Flaminia  :  Valentinus — Suburban  Catacombs. 

Cata-        For  many  centuries  the  catacomb  of  S.  Sebastian  was 

THE^ViA^  the  only  one  accessible  ;  it  was  taken  to  be  part  of  the 

Appia.        great  catacomb  of  S.  Callistus,  all  trace  of  which  had 

Catacomb  disappeared,  and  was  venerated  as  such  until  this  cen- 

of  S.  Cal-  tury,  when  the  real  S.  Callistus  was  discovered.     The 

listus.         origin  of  this  catacomb  is  lost  in  obscurity,  but  as  in 

the  case  of  all  the  others,  its  nucleus  was  certainly  a 

family  or  private  sepulchre,  a  cameterium  gentilitium.    It 

now  seems  more  than  probable  that  such  an  Hypogeum 

existed  here  even  in  apostolic  times,  dating  from  the 

Neronian   persecutions,  and  known  now,   as   in   the 

founder's  own  time,  as  the  Crypta  Lucina. 

Cryptae  All  the  references  to  Lucina  lead  us  to  regard  her  as  a 

Lucina;.     personage  perfectly  well  known  to  the  early  Christians, 

and  this  fact  makes  them  bare  of  any  details  as  to  her 

origin  and  personality.     A  Lucina  buries  Paul,  and  a 

Lucina  excavates  and  gives  her  name  to  some  crypts 


THE  CATACOMBS  423 

on  the  Via  Appia.  Successive  Lucinas  buried  the 
chief  apostles  and  martyrs,  and  removed  the  apostles' 
bodies,  and  were  all  owners  of  land  and  of  a  cemetery. 
Each  buries  in  pradio  suo,  but  no  hint  is  given  us  of 
the  family  or  the  sepulchre  of  these  persons  who  pos- 
.sessed  the  first  of  all  the  catacombs.  The  na.m.e  Lucina 
hides  all  trace  of  them  and  theirs. 

De  Rossi  has  now  been  able  to  identify  the  first 
Lucina  with  the  Pomponia  Grecina  whose  conversion  to 
Christianity  is  recorded  with  bitter  words  by  Tacitus 
in  A.D.  58,  she  leading  thenceforth  a  life  lugubre  et 
mosstum  [lugubrious  and  mournful].  =■'  A  fact  of  the 
utmost  importance  to  the  student  of  the  earliest  Chris- 
tian period  in  Rome.  Of  Pomponia  Grecina  although  so 
important  a  person  we  have  no  further  mention  under 
this  name  from  Christian  sources,  but  we  find  in  these 
very  Crypta  Lucincs  which  are  of  the  highest  antiquity, 
the  tomb  of  a  Pomponius  Grecimis.  This  identification 
of  the  Lucina  of  the  crypts  with  the  wife  of  Aulus 
Plautius,t  identifies  her  also  with  the  discipula  Pauli,  the 
Lucina  who  about  this  time  buried  the  apostle  in  her 
own  land  on  the  Ostian  Way,  and  thus  this  hypogeum 
of  the  catacomb  of  S.  Callistus  can  be  dated  to  the 
I.  century  A.D.,a  date  borne  out  by  the  archaic  form  of 
the  sepulchres,  the  classical  style  of  the  paintings,  and 
the  epitaphs  which  present  the  characters  of  the  first 
half  of  the  11.  century  and  perhaps  even  the  end  of 
the  I  St. 

To  the  crypts  of  Lucina  were  subsequently  added 
3  other  principal  areas,  (i)  the  ccemeterium  Cecilii, 
(2)  the  Ccemeteyium  of  S.  Soteris  and  (3)  the  avenaria  of 
Hippolytus.  To  those  again  were  added  other  cemeterial 
regions  the  names  of  which  are  unknown  to  us.  The 
name  Callistus  at  first  given  to  the  Cecilian  hypogeum 
and  its  immediate  adjuncts,  is  now  used  for  the  whole 
underground  area  formed  of  the  aggregation  of  these 
minor  cemeteries. 

*  De  Rossi,  Roma  Sott.,  i.,  pp.  321-323,  340,  348,  351. 
t  Conqueror  and  Governor  of  Britain,  a.d.  43-47. 


424       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Cccme-  There  already  existed  on   the  Appian  Way  other 

terium       tombs  than  the  Christian.     Cicero  mentions  those  of 

Cecilii.       j.^g  Metelli  and  of  the  Cecilii,  while  near  the  crypt  of 

Pomponia  Grecina  was  a  second  group  of  sepulchres 

belonging   to   the  Christian  members  of  the  Cecilii, 

many  of  whose  epitaphs  have  been  found  by  De  Rossi. 

He   concludes  that  this  was  from  the  ii.  century  a 

sepolcreto  gentilitinm  of  the  Cecilii,  consecrated  by  the 

A.D.  177.    martyrdom  and  interment  of  a  member  of  their  own 

family,  S.  Cecilia. 

A  new  epoch  in  the  history  of  the  catacomb  of 
S.  Callistus  began  with  the  first  years  of  the  in.  cen- 
tury, and  the  event  which  thus  changed  the  course  of 
its  history  was  in  all  probability  the  gift  by  the 
members  of  the  Cecilii  of  their  family  sepulchre  to 
Pope  Zephyrinus,  as  from  this  time  we  find  Callistus 
adopted  as  the  episcopal  cemetery  of  Rome. 

Hitherto  the  papal  cemetery  had  been  that  of  the 
Vatican,  where  Peter's  body  lay,  which  was  very 
small,  and  limited  on  all  sides  by  Pagan  tombs,  and 
the  area  Neroniana  which  effectually  prevented  its  ex- 
pansion. From  the  iii.  century  the  official  cemetery 
was  transferred  to  the  Via  Appia,  and  Zephyrinus 
placed  there  his  Deacon  Callistus  as  administrator. 
The  tombs  of  the  early  popes,  Zephyrinus  being  him- 
self the  first  to  be  buried  here,  are  therefore  to  be 
found  near  that  of  S.  Cecilia,  in  the  crypts,  that  is, 
of  the  original  donors,  "  near  the  mistress  of  the 
house." 

Callistus  succeeded  Zephyrinus  as  Pope,  and  en- 
larged the  hypogeum,  and  the  vast  network  of  galleries 
which  grew  from  this  centre  was  henceforth  called  by 
his  name. 

The  popes  from  Zephyrinus  to  Miltiades  were 
interred  in  this  region  which  was  enlarged  and  added 
to  by  Pope  Fabian,  and  here  also  were  laid  the  martyrs 
of  the  persecutions  of  Alexander  Severus,  Decius,  and 
Valerian,  as  well  as  other  bishops  and  personages. 
After  the  death  of  Miltiades,  when  the  persecutions  of 


THE  CATACOMBS  425 

the  Christians  had  ceased,  there  was  no  further  reason 
for  burial  in  the  catacombs,  and  we  find  his  successors 
buried  as  one  would  expect,  in  the  basilicas  of  Rome. 
Four  of  the  tombs  of  the  Popes,  namely  those  of 
Antherus  (235),  Fabian  (236)  Eutychian  (275)  and 
Lucius  (252)  had  been  already  found  and  De  Rossi 
discovered  those  of  Cornelius  (251),  Caius  (283)  and 
Eusebius  (310).  The  region  where  Eusebius  lay,  Eusebian 
which  is  called  by  his  name,  is  between  the  region  region. 
of  Soteris  and  the  original  crypts  of  Cecilia  and  appears 
to  have  been  added  about  the  year  250  through  the 
munificence  of  a  noble  matron  called  Anatolia,  and  the 
martyrs  Calocerus  and  Parthenius  her  father's  freedmen 
lay  here. 

The  crypts  of  the  Cecilii  were  united  at  a  later  date 
with  the  crypta  Lucina  by  an  intricate  system  of  gal- 
leries, without   decoration   or   cubicula,  where   Pope 
Cornelius  is  buried.     Beyond  the  Eusebian  region  is  Region  of 
the   vast   necropolis   founded   in   the   11 1.  century  by  S.  Soteris 
S.  Soteris  ;  and  contiguous  to  this,  as  we  learn  from 
the  ancient  records,  is  the  annarium  of  Hippolytus,  in-  Aren- 
corporated  with  the  cemetery  of  Callistus  as  early  as  arium  of 
the  IV.  century.  Mus" 

De  Rossi  has  recognised  no  less  than  fourteen  ^  "^' 
separate  centres  of  excavation  in  this  vast  cemetery, 
which  is  constructed  in  three  different  levels,  at  depths 
varying  from  7^  to  22  metres  below  the  soil.  The 
most  ancient  as  a  rule  are  the  upper  levels,  the  ex- 
cavations descending  as  more  room  was  required. 
Intermediate  levels  are  found  at  depths  of  11,  12,  13!^, 
16  and  i6|-  metres. 

The  present  approach  to  the  catacomb  is  through  a 
small  doorway  on  the  right  hand  side  of  the  Via  Appia, 
above  which  are  the  words  '*  Ccenieteriuni  S.  CallixH." 
Within  is  a  little  vineyard,  and  passing  the  entrance  to 
the  crypts  of  Lucina  which  come  first,  we  reach  a 
building  (i)  on  the  left  which  is  an  ancient  oratory, 
probably  built  during  the  persecutions  and  certainly 
reconstructed  after  the  Peace,  and  which  is  called  the 


426       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

chapel  of  SS.  Cecilia  and  Sixtus  from  its  position 
immediately  over  the  crypts  where  they  lay.  The 
cemetery  was  originally  reached  by  two  ample  stair- 
ways parallel  to  each  other  (2  and  3).*  During  the 
years  of  persecution,  both  were  blocked  up  and  in  part 
destroyed,  and  a  secret  entrance  made  into  an  adjoin- 
ing arenarium  which  had  several  exits,  thus  allowing 
the  Christians  means  of  escape  even  when  pursued 
into  their  catacomb.  During  the  persecutions  of 
Diocletian,  they  further  protected  their  cemeteries 
from  desecration,  by  filling  some  of  the  principal  gal- 
leries with  earth.  When  the  persecutions  had  ceased 
and  easy  access  to  the  cemeteries  was  desired,  the 
staircase  (2)  was  restored  and  reopened  and  is  now 
used.  Descending  by  a  later  staircase  (5)  we  enter 
first  a  little  vestibule  lined  with  graves  (6).  This  por- 
tion of  the  catacomb  was  anciently  known  as  ad  sanctum 
Vestibule.  Sixtum  and  ad  sane  tarn  Ceciliam.  The  walls  of  the  ves- 
tibule are  covered  with  rude  scratchings  the  graffiti  of 
the  pilgrims.  One  of  these  enters  the  catacomb  with 
his  mind  full  of  '^Sofronia''  probably  his  dead  wife,  and 
writes  as  he  enters  "  Sofronia  vibas  .  .  .  cum  tuis  " — 
as  he  advances  further,  we  find  him  writing  "  Sofronia 
in  Domino,"  "  Sofronia  dulcis  semper  vives  Deo," 
"Sofronia  vives."  Passing  among  the  scenes  of 
heroism  and  martyrdom  and  the  emblems  of  hope  and 
eternal  life,  he  writes  with  ever  more  confidence : 
"  Sweet  Sofronia  thou  shalt  live  for  ever  in  God " 
*'  Sofronia  thou  shalt  live." 
Papal  From  the  vestibule  we  turn  to  the  right  along  a 

crypt.  gallery  (7)  passing  a  cubiculum  on  our  right  (e)  to  be 
described  presently,  and  reaching  on  our  left  the  Papal 
crypt  (8)  so  called  from  the  tombs  of  the  Popes  buried 
within  it.  The  four  as  yet  recognised  are  those  of 
Antherus,  Fabianus,  Lucius,  and  Eutychianus  (235-275) 
though  it  is  supposed  that  Sixtus  II.  (258)  and  Urban  I. 
(223)  were  also  laid  here.     The  sepulchral  inscriptions 

*  Staircase  marked  (4)  in  the  map  leads  to  a  lower  level  of  the 
area. 


THE  CATACOMBS  427 

to  the  Popes  of  the  in.  century  in  this  catacomb  are 
all  in  Greek.  Upon  those  of  the  Popes  Fabian  and 
Lucius  are  the  words  bishop  and  martyr. 

The  papal  crypt  has  been  saved  from  ruin  by  De 
Rossi,  and  portions  of  new  walls  have  been  built  with 
the  utmost  care  to  support  the  roof  which  partly  fell 
in  when  the  rubbish  was  first  cleared  away  from  the 
interior.  Many  fragments  remain  of  its  original  de- 
coration. It  was  probably  faced  with  marble  in  the 
V.  century  and  the  portions  of  marble  slabs  and  marble 
columns  still  seen,  are  of  this  period.  At  the  further 
extremity  is  a  raised  marble  dais  in  which  can  be  still 
seen  the  4  sockets  for  the  pillars  which  originally  sup- 
ported the  altar.  Behind  this  are  the  remains  of  a  yet 
older  table  tomb,  in  front  of  which  is  a  raised  ledge  to 
hold  the  episcopal  chair.  On  the  wall  above  is  the 
inscription  of  Pope  Damasus,  one  of  the  4  as  yet  found 
in  this  catacomb. 

The  inscriptions  which  this  pope  placed  in  each  of 
the  Roman  cemeteries  when  restoring  them,  are  to  be 
regarded  not  only  as  literary  productions,  and  as  such 
they  have  a  high  value,  but  as  historical  landmarks. 
They  are  engraved  in  a  calligraphy  of  his  own,  in- 
vented for  him  by  his  friend  and  amanuensis,  the  cele- 
brated Furius  Dionysius  Filocalus ;  and  are  easily 
distinguishable. 

The  four  inscriptions  in  the  cemetery  of  S.  Callistus  I.  Dama- 
thus  sum  up  its  history,  the  first,  placed  at  the  tombs  ^^^^  ^?' 
of  the  popes,  is  as  it  were,  introductory.     Damasus  ^'^"^  *°°' 
speaks  of  the   popes   as  forming  a  sort  of  guard  of 
honour,  he  uses  the  military  term  niimerus,  round  the 
altar  of  Christ.     He  refers  to  the   Greek  confessors 
"  hie  confessores,"  who  were  martyred  under  Claud  the 
Goth  and  were  buried  in  256  near  by  in  the  Arenarium 
of  Hippolytus  who  was  himself  among  their  number. 
Again  he  refers  to  Pope  Miltiades  (31 1-3 14)  who  lived 
after  the  persecutions,  in  the  words :   **  Hie  positus 
longa  vixit  qui  in  pace  sacerdos  "  the  bishop  who  lived 
in  a  long  peace.     Lastly  he  says  that  here  too  would 


428        CHRISTIAN  AND  ECCLESIASTICAL  ROME 


he  wish  to  be  laid,  but  he  feared  to  disturb  the  ashes 
of  the  saints. 

"  Hie  fateor  Damasus  volui  mea  condere  membra 
Sed  cineres  timui  sanctos  vexare  piorum." 

II.  In-  We  only  possess  a  copy  of  the  second  or  Sixtian 
scription.   inscription,  but  De  Rossi  has  found  a  tiny  piece  of  the 

original  among  the  debris  in  the  papal  crypt,  upon  it 
the  word  ''  gregis."  From  this  discovery  it  is  probable 
that  this  second  inscription  was  also  placed  here,  very 
likely  over  the  first,  as  there  is  a  place  for  another 
such  tablet. 

This  inscription  is  to  the  Pope  and  martyr  Sixtus, 
and  records  an  event  so  v/ell  known  to  all,  that 
Damasus  mentions  no  name.  Sixtus  II.*  was  deacon 
to  Pope  Stephen  I.  and  succeeded  him.  He  was  mar- 
tyred on  his  cathedra  in  the  catacombs,  under  Valerian 
in  A.D.  258,  the  first  year  in  which  the  cemeteries  of 
the  Christians  were  confiscated.  Hitherto  when  their 
lands  and  buildings  were  taken,  their  cemeteries  were 
spared,  not  only  as  individual,  but  as  corporate  religious 
property.  S.  Cyprian  a  contemporary  of  Sixtus,  says 
he  was  martyred  m  ccemeterio,  in  the  cemetery  as  though 
the  catacomb  of  Callistus  was  already  known  as  the 
great  Roman  cemetery.  An  itinerary  of  the  viii.  cen- 
tury mentions  "  ecclesia  in  qua  Sixtus  secundus  occisus 
est."  There  still  remains  a  doubt,  however,  whether 
this  or  the  neighbouring  catacomb  of  Pretextatus  be 
the  real  site,  but  it  is  certain  that  his  chair  stained 
with  his  blood,  was  transferred  here,  and  here  his 
martyrdom  has  been  commemorated  from  the  earliest 
times. 

III.  In-  The  third  inscription  is  to  the  martyr  Tarsicius.     It 
scription.    has  not  been  found  in  the  original  marble,  but  its  site 

was  probably  the  oratory  of  Cecilia  and  Sixtus  as  the 
martyr's  relics  were  there  venerated,  buried  "  in  uno 
tumulo"  in  one  tomb,  with  Pope  Zephyrinus.  The 
young  boy  martyr  Tarsicius,  an  acolyte,  was  present 

♦    257-258  A.D. 


THE  CATACOMBS  429 

at  an  illegal  meeting  of  the  Christians  in  the  memorable 
year  258,  which  saw  the  martyrdoms  of  Sixtus,  and  of 
his  deacon  Laurence.  Tarsicius  offered  himself  for  . 
the  dangerous  duty  of  bearing  the  consecrated  bread 
to  the  confessors  in  prison.  His  way  lay  along  the 
Via  Appia  across  the  Forum  to  the  prisons  under  the 
Capitol.  On  the  road  he  was  stopped,  and  asked  what 
he  carried,  he  refused  to  tell,  or  to  expose  his  precious 
burden  to  profane  eyes.  They  then  stoned  him,  and 
clasping  the  treasure  with  which  he  had  been  entrusted 
to  his  breast,  he  gave  up  his  spirit.  His  tormentors 
then  ran  up  to  see  what  he  carried  and  found  nothing. 
His  body  was  removed  from  the  Appia,  which  was 
probably  the  scene  of  his  martyrdom,  to  the  catacomb 
of  S.  Callistus.  The  carmen  in  which  Damasus 
records  this  event  consists  of  10  lines,  of  which  the 
eighth  is  lost.  It  is  one  of  the  most  beautiful  and 
inspired  of  his  carmina.  In  it  he  likens  Tarsicius 
to  the  Levite  Stephen,  both  having  been  stoned  to 
death. 

Finally  we  have  a  fourth  inscription  to  Eusebius  IV.  In- 
(310),  who  lived  on  the  eve  of  the  final  peace  of  the  scription. 
church.  The  successor  of  Valerian,  Gallienus,  cruel 
as  he  was,  was  yet  propitious  to  the  Christians,  who 
reckoned  among  them  it  is  said,  his  own  wife.  He 
restored  not  only  the  cemeteries  which  were  held  by 
private  individuals,  but  those  also  held  by  the  church 
as  a  religious  corporation.  A  few  years  later  at  the 
beginning  of  the  new  century,  all  the  churches  and 
cemeteries  were  again  confiscated.  S.  Callistus  was 
restored  by  Maxentius,  and  the  Christians  re-entered 
it,  broken  into  and  in  part  destroyed  as  it  was,  not  to 
be  again  expelled.  The  Eusebian  inscription  refers  to 
the  troubles  brought  about  by  Heraclius  regarding  the 
reconciliation  of  the  lapsed.  Vigilius  (537-555)  restored 
the  devastated  catacomb,  and  made  a  copy  of  the 
inscription  which  had  been  destroyed  by  the  Goths  in 
535,  upon  the  reverse  of  a  marble  containing  an 
honorary  inscription  dedicated  by  Asinius  to  Caracalla. 


430       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

The  copy  is  in  much  ruder  lettering  than  the  Filo- 
cahan,  and  is  not  without  errors.     On  the  sides  are 
•written  in  letters  arranged  perpendicularly: 

Damasis  Pappae  Cultor  Atque  Amatot  (sic) 

FURIUS    DiONYSIUS    FiLOCALUS    SCRIBSIT. 

Papal  Returning  to  the  Papal  crypt :  it  contains  also  the 

crypt.         following  inscriptions  in  the  form  of  prayers : 

Marcianum  Successum  Severum  Spirita 

Sancta  in  mente  havete  et  omnes  fratres  nostros. 

Holy  spirits  have  in  your  memory  Marcian 

Successus,  and  Severus,  and  all  our  brethren. 

Petite  Spirita  sancta  ut  Verecundus 
'  CUM  suis  bene  naviget. 

Ask,  holy  spirits,  that  Verecundus  and  his  may  make 
a  good  voyage  {i.e.,  to  the  shores  of  eternity). 

Otia  petite  et  pro  et  pro  parentes  et  pro  fratribus 

EJUS  ET.    .    .    . 

Crypt  of  Leaving  the  papal  crypt  we  pass  through  an  opening 
CeciUa.  on  the  left  to  a  large  irregular  chamber  lighted  by  a 
wide  luminare — the  crypt  of  Cecilia  (9).  Close  to  the 
entrance  the  martyr  herself  is  represented  in  fresco  in 
a  garden  of  green  and  roses,  her  arms  in  the  attitude 
of  prayer ;  a  large  nimbus  is  round  her  head,  and  she 
is  dressed  in  rich  vestments  broidered  in  gold  and 
charged  with  gems ;  this  is  probably  of  the  vii.  cen- 
tury and  has  been  painted  over  traces  of  an  ancient 
mosaic.  Immediately  below  is  a  niche  which  was 
originally  lined  with  porphyry  and  used  for  the  oils 
and  unguents  that  fed  the  lights.  It  is  now  decorated 
with  a  Byzantine  bust  of  Christ.  On  the  flat  surface 
adjacent  is  a  figure  in  episcopal  dress  inscribed  5.  Ur- 
harms,  and  an  almost  effaced  inscription.  Both  these 
paintings  may  be  as  late  as  the  x.  or  xi.  century.* 

The  picture  of  S.  Cecilia  is  entirely  covered  with 
graffiti.      Among   the   names   of  pilgrims   are  Lupo, 

*  Any  decorations  in  a  catacomb  later  than  the  v.  or  vi. 
centuries  are  a  sure  indication  of  the  historical  and  religious 
interest  of  the  spot. 


THE  CATACOMBS  431 

Ethelnd  Epis.,  obviously  a  Saxon  bishop,  and  Hilde- 
brandus.  Also  a  series  of  names  nearly  all  of  which 
have  PRB.  after  them,  one  of  these  being  Joannes  prh. 
vester  (John  priest  of  yotir  titulus,  i.e.  of  the  Church  of 
S.  Cecilia.) 

Paschal  left  it  recorded  that  he  had  found  Cecilia's 
body  "  near  the  tombs  of  his  predecessors."  When 
De  Rossi  was  excavating  in  this  part  of  the  catacomb, 
he  came  first  upon  the  decorated  luminare  and  found 
that  there  was  indeed  a  chamber  next  to  the  pontifical 
crypt.  Further  search  brought  to  light  the  wide  recess 
just  beyond  the  paintings  described  above,  where 
Paschal  must  have  found  the  saint's  body  lying  exactly 
in  the  attitude  which  the  sculptor  Maderno  has  pre- 
served for  us  in  the  statue  in  the  church  of  S.  Cecilia 
in  Trastevere.  Pope  Damasus  made  the  wide  new 
entrance  to  this  crypt  opposite  to  that  from  the  Papal 
crypt,  and  the  new  stairway  which  led  more  directly  to 
it.  The  wide  luminare  which  lights  the  chamber  was 
probably  constructed  by  Sixtus  III.  (432)  and  decorated 
with  frescoes  which  are  of  this  (v.)  century.  They 
represent  above,  the  figure  of  a  female  Orante,  and 
below  her,  a  Latin  cross  between  two  sheep.  Below 
this  again,  the  figures  of  three  saints,  SS.  Quirinus, 
Policamus  and  Sebastianus. 

Quirinus  or  Cyrinus"  is  represented  tonsured,  by 
him  are  Sebastian,  and  the  martyr  Policamus  with  a 
palm  by  his  side.  Of  Policamus  we  know  nothing 
but  we  know  that  foreign  bishops  were  interred  in  the 
Pontifical  crypt,  and  in  the  itinerary  preserved  by 
William  of  Malmesbury  we  find  that  "  near  the  church 
of  Cecilia  "  besides  the  Popes,  were  Policamus  and 
Optatus.  The  latter  has  been  identified  as  the  bishop 
of  Vesceter  who  corresponded  with  Augustine,  and 
lived  about  420. 

_  In  this  same  crypt  many  sepulchral  inscriptions  were 

discovered,  all  referring  to  persons  of  senatorial  grade. 

Among  them  a  fine  Greek  epitaph  upon  a  table  tomb 

•   Vide  Catacomb  of  S.  Sebastian,  p.  445. 


432       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Cubicula 
of  the 
Sacra- 
ments. 


Ill 


IV, 


near  that  of  S.  Cecilia,  to  Septimus  Pratextatus  Cecilianus, 
in  which  he  is  called  Servus  Dei. 

Returning  through  the  Papal  crypt  we  come  to  5 
small  chambers  opening  out  of  a  long  gallery,  which 
are  known  as  the  cubicula  of  the  Sacraments. 

Four  of  these  lie  along  a  gallery  (10)  the  other,  to 
be  returned  to  later,  leads  out  of  a  gallery  (7)  opposite 
the  papal  crypt. 

In  the  first  (a)  we  find  a  fresco  representing  the 
Redeemer,  young  and  unbearded,  dressed  in  the 
pallium,  raising  Lazarus.  At  the  arcosolium  at  the 
end,  are  represented  7  men  at  a  table  of  the  shape 
called  by  the  old  writers  sigma  from  its  likeness  to  the 
letter  c.''-  On  the  table  are  fish  and  bread  ;  at  either 
side,  5  baskets  of  loaves. 

In  the  second  cubiculum  (b)  we  have  again  the  multi- 
plication of  the  loaves,  Moses  striking  the  rock  and 
Jonah. 

The  third  (c)  is  a  very  ornate  crypt.  Two  figures 
of  fossors  are  represented  with  axe  in  hand,  beginning 
to  excavate.  Two  oranti ;  the  Jonah  cycle.  In  the 
four  angles  of  the  roof,  are  four  flying  birds.  In  the 
centre  the  Good  Shepherd  standing  between  two  trees 
with  the  sheep  upon  his  shoulders.  On  the  trees  two 
little  angels  or  genii.  The  pavement  is  an  imitation 
of  opus  sectile  or  "  Alexandrine  "  work. 

In  the  fourth  crypt  (d) :  On  the  left  wall  entering, 
Moses  striking  the  rock.  Further  on,  a  baptism  in  running 
water  and  a  man  fishing  in  it.  Beyond,  the  paralytic 
taking  up  his  bed.  On  the  wall  facing  the  entrance  to 
the  left,  is  a  tripod  with  fish  and  bread  laid  on  it ;  a 
woman  stands  on  one  side,  her  arms  extended,  a  man 
vested  with  the  pallium  stands  on  the  other,  and  lifts 
his  right  hand.  This  is  the  typical  representation  of 
the  Eucharist.  The  praying  church  by  the  side  of  the 
oblation.  On  the  same  wall,  is  the  scene  of  the  7 
persons  at  a  table,  the  sacrifice  of  Abraham,  and  two 
fossors.  The  frescoes  on  the  right  wall  have  almost 
*  See  p.  402 


THE  CATACOMBS  433 

perished.  We  can  still  discern  our  Lord  with  the 
woman  at  the  well.  The  roof  is  flat,  and  is  decorated 
in  the  centre  with  the  Good  Shepherd  carrying  the 
sheep,  two  other  sheep  at  His  feet.  In  the  angles  two 
genii  and  two  female  figures  representing  the  seasons. 
In  the  segments,  birds  and  peacocks,  referring  to  the 
seasons,  and  Jonah. 

The  series  in  this  cubiculum  is  clearly  designed. 
Moses  striking  the  rock  represents  miraculous  water, 
the  healing  waters  of  salvation  brought  by  Christ. 
The  sacrament  of  baptism  immediately  follows.  Then 
the  paralytic  representing  the  forgiveness  of  sins,  the 
sacrament  of  Penance.  But  with  more  probability  the 
reference  here  is  to  baptism,  and  this  picture  represents 
the  man  healed  at  the  pool  of  Bethsaida,  which  was  an 
ancient  type  of  the  waters  of  baptism.*  It  was  not 
consonant  to  early  Christian  ideas  to  suppose  penance 
between  baptism  and  the  Eucharist.  Then  the  tripod 
and  mystical  feast,  the  altar  and  the  Eucharist.  By 
this  again,  the  Jewish  type  of  Christ's  sacrifice  appears, 
the  sacrifice  of  Isaac.  Then  on  the  other  wall  is 
Christ  conversing  with  the  Samaritan,  telling  her  that 
He  is  the  Christ,  and  that  those  who  ask  for  the  water 
that  He  will  give  them,  will  never  thirst. 

Passing  back  along  the  gallery  and  past  the  entrance  V. 
to  the  Papal  crypt,  we  come  to  the  fifth  cubiculum  (e). 
This  is  higher  and  larger  than  the  others.  Here  again 
are  represented  Moses  striking  the  rock,  a  fisherman 
taking  a  small  fish  out  of  the  water  a  scene  often  found 
joined  to  that  of  a  baptism,  the  fisherman  representing 
the  Apostles  as  "  fishers  of  men,"  and  the  fish,  the 
pisciculiis,  the  soul  regenerated  in  baptism.  The  resur- 
rection of  Lazarus  ;  a  dolphin  wound  with  a  trident. 
On  the  wall  to  the  right,  a  personage  with  a  volume  in 
his  hand,  dressed  in  the  philosopher's  pallium,  perhaps 
a  prophet.  In  the  lunette  of  the  roof,  a  tripod  with 
bread   and  fish,  and  7  baskets.     In   the   centre,  the 

*  Optatus,  De  Schism.  Don.,  ii.  6;  Tertullian,  De  Baptismo, 
cap.  V. 

28 


434 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Eusebian 
region. 


Crypt  of 
Eusebius. 


Crypt  of 
Parthe- 
nius  and 
Calocerus. 


Region  of 
S.  Soteris. 


Good  Shepherd,  in  the  angles  4  columns.  These 
cubicula  date  from  the  end  of  the  11.  and  beginning  of 
the  III.  century. 

Some  100  paces  further  on,  we  come  to  the  so- 
called  Eusebian  Region,  an  extension  of  the  Cecilian 
undertaken  by  Callistus  and  his  successors,  and  the 
only  portion  of  the  catacomb  properly  styled  Cal- 
listus.■■'- 

Here  is  buried  Pope  Eusebius  (310).  He  died  in 
Sicily,  and  his  body  was  brought  to  Rome  by  Pope 
Miltiades  and  this  region  was  decorated  for  its  recep- 
tion. It  was  excavated  by  De  Rossi  in  1857.  A 
separate  stairway  (12)  leads  to  it  from  the  open  air. 
In  the  galleries  at  the  foot  of  the  stairs,  walls  have 
been  built  at  some  period,  to  guide  the  pilgrims  to  the 
crypt  of  Eusebius  (11). 

This  chamber  is  square  in  shape  with  arcosoha  at 
each  side  and  at  the  further  end.  At  the  back  of  the 
latter  is  a  second  arcosolium,  and  in  the  lunette  above 
are  traces  indicating  the  position  of  some  inscription 
tablet,  possibly  that  of  the  Bishop  of  Vesceter. 

The  chapel  shows  traces  of  having  been  lined  with 
marble,  and  the  arcosolia  were  at  some  period  decorated 
with  mosaics.  The  vault  of  the  roof  is  divided  into 
compartments,  decorated  with  paintings  of  birds  and 
flowers,  now  much  obliterated.  In  this  chamber,  but 
not  in  its  original  position,  is  the  Damasian  inscription 
mentioned  above  (vide  p.  429).  Opposite,  on  the  other 
side  of  the  gallery,  is  a  second  cubiculum,  undecorated, 
and  possibly  intended  for  the  use  of  worshippers  (13). 

A  little  further  along  the  same  gallery,  is  another 
double  cubiculum,  one  on  either  side  of  the  gallery, 
and  from^ra^^^at  the  entrance  of  one  of  these  chambers, 
it  is  probable  that  this  may  have  been  the  burial  place 
of  the  martyrs  Parthenius  and  Calocerus  (14  and  15). 

The  same  gallery  leads  us  from  the  Eusebian  region 
into  the  vast  cemetery  of  S.  Soteris.     Four  different 

*  On  a  fragmentary  epitaph  found  here  we  first  find :  "  Com- 
parabit  sibi  arcosolium  ;«  Callisti." 


THE  CATACOMBS  435 

areas,  excavated  at  four  different  periods,  have  been 
distinguished  by  De  Rossi  in  this  region  which  was 
founded  at  the  end  of  the  in.  century  by  the  virgin 
martyr  whose  name  it  bears,  and  whose  riches,  says 
Armellini  "must  have  been  as  great  as  her  piety," 
"  grande  come  la  pieta,  dovettero  essere  le  richeze  dell' 
illustre  fondatrice."  Her  tomb  has  as  yet  not  been 
found,  but  in  this  area  the  names  Aunlius  Satyrus, 
Mavcella,  Marcellina,  occur,  all  names  belonging  to  her 
family,  and  we  know  Soteris  was  buried  "z»  pradio 
sm,''  and  also  that  a  basilica  of  S.  Soteris  Martyr,  Basilica  of 
existed  in  this  region  "  where  she  lies  with  many  others.''  S.  Soteris. 
Traces  indeed  have  been  found  of  a  building  above 
ground  resembling  the  oratory  of  Sixtus  and  Cecilia, 
between  this  and  the  Via  Ardeatina,  and  behind  it  are 
the  remains  of  an  ancient  stairway  leading  to  the  cata- 
comb beneath.  Pilgrims  of  the  vii.  and  viii.  centuries 
visited  her  shrine  in  this  basilica.  It  was  still  there  in 
A.D.  752-57  when  the  latter  was  restored.--' 

In  the  region  of  S.  Soteris,  the  architectural  features 
of  the  excavations  show  great  development.  In  the 
first  period  of  catacomb  excavation  such  as  the  crypts 
of  Lucina  and  the  first  Callistan  region,  the  chambers 
are  small  and  are  not  found  on  both  sides  of  the 
galleries,  and  the  luminaria  are  rare.  Later,  in  the 
middle  of  the  iii.  century,  crypts  are  found  obviously 
intended  for  the  assembling  of  the  Christians,  and  later 
still,  at  the  end  of  the  iii.  century  and  beginning  of  iv., 
we  find  quadrangular,  double,  triple,  and  quadruple 
crypts.  In  the  region  of  Soteris,  parts  of  which  are 
still  later,  we  find  them  polygonal,  with  vaulted  roofs 
and  apses  ;  and  yet  finer  proportions  are  found  in  the 
Liberian  region  which  is  latest  of  all.  In  the  region  of 
Soteris,  the  cubicula  and  arcosolia  alternate  regularly, 
but  we  do  not  find  chambers  completely  decorated  as 

*  The  crypt  was  presumably  just  below  the  church;  there  is 
such  a  large  crypt  at  the  foot  of  the  stairway,  where  her  sarco- 
phagus probably  stood  ;  the  gallery  leading  to  it  has  been  widened, 
and  the  niche  for  perfumed  oils  may  still  be  seen  there. 

28—2 


Cubicu- 
lum  of 
Severus. 


Crypts  of 
Lucina. 


436       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

in  the  more  primitive  regions.  The  arcosolia  are 
abundant  but  infrequently  decorated  ;  mosaics  used  in 
decoration  in  the  earlier  regions  are  here  replaced  with 
painting.  Luminaria  are  frequent  and  of  a  great 
height  and  size. 

An  inscription  found  here  by  De  Rossi,  and  assigned 
by  him  to  the  in.  century  runs  :  pelagia  MAXErwA, 

In  proceeding  along  the  gallery  from  the  Eusebian 
region — we  reach  a  double  cubiculum  (17  and  18)  con- 
structed by  the  Deacon  Severus  with  the  permission 
of  "  PP  sui  Marcellinus  "  (296-308)  for  his  own  family 
and  containing  arcosolia  and  a  luminare.  Closing  the 
opening  of  an  arcosolium  is  a  slab  of  perforated  marble, 
belonging  originally  to  some  Pagan  tomb,  and  now 
bearing  a  eulogistic  inscription  to  a  girl  child  called 
Sever  a. 

Opposite  this  cubiculum  duplex,  on  the  left,  is  a  square 
chamber  (i6)  with  two  arcosolia.  Over  one  of  these 
is  a  group  of  five  figures  in  a  garden  of  flowers  and 
birds.  The  two  principal  figures,  Orantes,  on  either 
side,  are  inscribed  Dyonisias  in  Pace  and  Zoae  in  Pace, 
the  former  wears  a  talith.  A  little  below  them,  is 
another  important  figure,  though  somewhat  smaller, 
Eliodora  in  Pace.  Between  these  are  two  small  figures 
inscribed  respectively  Nemesi  in  Pace  and  Procopi  in 
Pace,  the  former  wears  a  stole  reaching  to  the  knee. 
On  either  side  of  the  group,  are  two  large  peacocks 
walking  in  the  garden  ;  that  beneath  Dyonisas  is  in- 
scribed Arcadia  in  Pace.*  Below,  birds  slake  their  thirst 
at  flowing  water,  a  picture  of  the  celestial  refrigerimn. 
All  are  richly  dressed  in  gold  and  purple,  and  the 
women  wear  pearls,  the  costumes  being  of  the  time  of 
Diocletian.  These  were  probably  martyrs  during  this 
persecution.  Zoae  is  perhaps  the  wife  of  Nicostratus 
of  the  Roman  prefecture ;  her  body  was  thrown  into 
the  Tiber,  and  the  search  for  it  aftersvards  cost  the 
life  of  several  of  the  Christians  who  undertook  it. 

The  crypts  of  Lucina  lie  nearest  the  Via  Appia,  and 
*  See  p.  395. 


THE  CATACOMBS  437 

here  we  descend  to  the  tomb  of  Pope  Cornelius,  at  a 
level  slightly  below  that  made  by  the  elder  Lucina ; 
the  former  level  dating  from  the  time  that  the  later 
Lucina,  whose  burial  of  this  pope  is  recorded,  de- 
posited his  body  here. 

A  separate  stairway  (a)  leads  to  these  crypts,  and 
they  are  connected  below  ground  with  the  Cecilian 
region  by  a  complicated  labyrinth  of  galleries  (z)  with- 
out arcosolia,  cubicula  or  paintings,  but  interesting 
from  the  ingenious  manner  in  which  they  have  been 
constructed  by  the  fossors,  being  at  several  different 
levels,  connected  by  staircases  as  they  join  on  to  other 
areas. 

In  1849  De  Rossi  found  a  stone  with  the  words 
ELI  us  MARTYR  upou  it,  and  the  upper  portions  of  the 
letters  r,  and  n,  in  a  vineyard  on  the  Via  Appia 
between  the  catacomb  of  S.  Sebastian,  at  that  time 
confused  with  S.  Callistus,  and  the  walls  of  Rome. 
He  was  convinced  that  this  was  part  of  the  tombstone 
of  Pope  Cornelius,  and  persuaded  Pius  IX.  to  pur- 
chase the  land  upon  which  he  had  found  it.  After  3 
years'  patient  work,  he  found  in  1852  the  other  half  of 
the  marble  in  what  we  now  know  as  the  crypt  of  Cor- 
nelius, and  upon  the  two  portions,  the  complete  in- 
scription CORNELIUS  martyr.  EP. 

The  story  runs  that  Pius  IX.  demurred  at  the  pur- 
chase of  the  land,  saying  such  ideas  were  "  sogni  degli 
archeologi''  (antiquary's  visions).  When  De  Rossi 
had  triumphantly  placed  the  two  portions  of  the  in- 
scription together,  he  invited  the  Pope  to  visit  the 
scene  of  his  labours,  and  when  Pius  IX.  had  reached 
the  crypt  of  Cornelius,  De  Rossi  pointed  to  the  tomb 
with  the  words  ^^  ecco  i  sogni  degli  archeologi !"  (behold 
the  antiquaries'  dreams!) 

Cornelius  was  the  only  pope  till  Silvester  who  bore 
the  name  of  a  well  known  Roman  family,  and  we  find 
him  buried,  not  in  the  Papal  crypt  with  his  prede- 
cessors, but  in  a  region  with  other  members  of  his 
family,  for  here  we   find  tombs  of  Cornelii  and   of 


Crypt  of 
Cornelius 


Cornelius 

and 

Cyprian. 


SS.  Cere- 
alis  and 
Sallustia. 


Cubicu- 
lura  D. 


438       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Maximi  Cacilii.  Another  proof  that  he  was  probably 
buried  by  his  own  "  gens "  in  their  own  cemetery,  is 
that  his  epitaph  is  in  Latin,  not  in  the  official  language, 
Greek,  found  in  the  epitaphs  of  the  Papal  crypt. 

His  tomb  is  not  in  any  crypt  or  cubiculum  but  in  a 
sort  of  enlarged  passage  way  (c),  where  a  wide  loculus 
has  been  formed,  in  which  probably  stood  a  sarcophagus 
containing  his  body.  The  top  of  the  sarcophagus  pro- 
bably served  as  an  altar  until  the  body  was  removed 
to  Germany.  Pieces  of  marble  are  still  attached  to  the 
adjacent  walls,  and  fragments  of  a  Damasian  inscription 
have  been  found.  Damasus  also  constructed  a  more 
commodious  staircase  to  the  crypt,  the  one  now  in  use 
(a),  and  opened  a  luminare. 

On  the  right  hand  of  the  tomb  of  Cornelius,  is  a 
large  painting  of  two  Bishops,  in  Byzantine  style, 
Cornelius  and  S.  Cyprian.  Cornelius  was  martyred 
at  Civita  Vecchia  in  255.  S.  Cyprian  was  martyred  in 
Africa  on  the  same  day,  though  in  a  different  year,  and 
their  feasts  are  always  kept  together,  September  16. 
In  the  fresco,  which  is  probably  of  the  ix.  century, 
both  are  habited  as  bishops,  with  the  pallium.  Traces 
of  older  decorations  and  graffiti  can  be  detected  beneath 
the  painting.  On  the  opposite  side  of  the  tomb,  are 
the  figures  of  two  other  bishops  with  their  names,  S. 
Sixtus  and  S.  Optatus,  just  decipherable.  This  paint- 
ing was  probably  placed  here  by  Leo  IIL  (795-815) 
when  restoring  the  catacomb.  A  low  pillar  close  by  is 
much  earlier  in  date,  perhaps  of  the  same  date  as  the 
tomb,  and  held  the  perfumed  oils.  Fragments  of  a 
vessel  used  for  oil  were  found  among  the  rubbish. 

In  an  archway  near  is  a  graffHtto  with  the  names  of 
S5.  Cerealis  and  Sallustia  "  S.  Cerealis  et  Sallustia  cum 
XXI.''  In  the  "  acts "  of  Cornelius  we  learn  that 
Cerealis  was  the  officer  who  guarded  him,  with  his  wife 
Sallustia,  and  the  twenty-one  soldiers  whom  he  con- 
verted, and  who  were  martyred  together  and  buried  by 
Lucina  probably  near  this  spot. 

At   the   foot  of  the  original  staircase  (b),  now  no 


THE  CATACOMBS  439 

longer  used,  is  a  double  cubiculum  (d,  e),  the  painting  of 
which  dates  to  the  time  of  the  Founder  herself,  or  but 
little  later.  The  first  cubiculum  (d)  is  almost  totally 
destroyed  ;  two  doves  in  a  garden  are  still  discernible. 
Between  this  and  the  second  cubiculum  (e)  is  repre- 
sented the  baptism  in  Jordan,  the  first  historical  monu- 
ment of  this  subject  after  the  Gospel  account,  as  well 
as  its  first  representation  in  art.  As  we  enter  the 
second  cubiculum  e  :  to  the  left  are  represented  a  Cubicu- 
column  between  trees,  a  sheep  and  a  lamb.  On  the  him  e, 
column  is  a  pail  of  milk  and  near  it,  a  pastoral  staff. 
On  the  right  wall,  are  two  birds  in  a  garden  of  flowers, 
perched  upon  the  branch  of  a  tree.  On  these  two 
walls  the  earthly  and  heavenly  church  are  symbolised  : 
on  the  left  wall  is  represented  the  mystical  bowl,  by 
which  the  flock  is  nourished.  Milk  is  one  of  the 
m.ost  ancient  symbols  of  the  Eucharist.  S.  Perpetua 
in  the  first  years  of  the  in.  century  describes  the  Good 
Shepherd  who  gives  her  to  taste  of  the  milk  which  he 
carries  in  his  pail,  and  which  she  received  with  hands 
joined  the  one  over  the  other,  all  those  standing  by 
answering  "  atnen.'"  This  attitude  and  the  response, 
answers  exactly  to  the  usage  of  the  early  Christians  in 
receiving  the  Eucharist.  This  then,  is  the  type  of  the 
church  on  earth.  On  the  right  wall,  the  birds  represent 
the  souls  loosed  from  the  body  flying  to  Christ  and  de- 
lighting themselves  in  the  celestial  garden.  Both  treat- 
ments show  the  greatest  archaism.  In  the  centre  of  the 
flat  roof  we  find  Daniel  among  the  lions.  On  the  wall 
which  fronts  the  entrance,  two  large  living  fish  in 
water,  upon  the  back  of  each  a  basket  of  bread  through 
which  is  seen  a  glass  cup  half  full  of  red  wine.  The 
loaves  in  the  baskets  are  of  a  grey  colour.  In  the  first 
ages  of  the  church,  the  corona  consecrates,  that  is,  the 
Eucharist,  were  placed  in  these  cojfancs  or  baskets  ;  but 
those  frescoes  which  are  of  the  highest  antiquity  are 
the  most  ancient  and  the  most  complete  representation 
of  the  usage. 

The  original  spacious  staircase  (b)  was  no  doubt 


440       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

constructed  before  the  devastations  of  Valerian,  after 
which  it  was  carefully  walled  up,  and  a  small  entrance 
made  into  this  portion  of  the  catacomb,  until  the  stair- 
case (a)  was  constructed  by  Pope  Damasus. 

This  area  owing  to  its  great  antiquity  has  under- 
gone repeated  alterations  and  modifications,  and  its 
level  varies  more  than  in  any  other  portion  of  the 
catacomb.  In  some  places  the  floors  have  been 
lowered  to  allow  of  greater  space,  and  in  the  crypt  of 
Cornelius,  this  has  caused  many  loculi  to  remain  high 
out  of  reach.  It  has  suffered  too  from  the  nature  of 
.  the  soil,  which  in  some  places  is  of  a  fine  sand,  which 
has  caused  the  ceilings  and  floors  of  some  of  the  lower 
galleries  to  fall  in.  The  galleries  in  this  region  have 
been  excavated  under  a  space  of  loo  feet  frontage  on 
the  Via'Appia,  by  i8o  feet  "  agro,"  or  backwards,  and 
it  has  been  calculated  that  this  space  contains  some 
800  sepulchres. 

A  staircase  of  some  23  steps  leads  to  a  lower  level, 
passing  some  3  tiers  of  galleries.  Here  are  some  un- 
disturbed loculi,  probably  of  a  later  period  than  those 
above.  One  inscription  is  to  'E2nEP02  with  an  anchor, 
another  to  Faustnianus  also  with  the  anchor,  a  bird, 
palm  branch,  and  sheep.  Another  POY^INA  EIPHNH 
Rufina  in  pace,  with  a  small  Greek  cross  decorated  at 
the  ends  >J<.     Another  runs  : 

MARGIE    RUFINE 

DIGNE    PATRONE 

SECUNDUS    LIBERTUS   FECIT. 

Secundus,  who  describes  himself  as  a  freeman, 
makes  the  inscription  to  his  Patron  Marcia  Rufina. 

On  the  next  slab,  a  gardener  is  represented  with  his 

appropriate    implements,   and   the   words :   Valerius 

PARDUS  FELicissiMA  CO.  F.     His  wife  Felicissima  made 

it.     The  emblem  is  a  palm  branch. 

Aren-  Contiguous  to  this  region  is  the  so-called  Arenarium 

arium  of    of  Hippolytus,  who  was  one  of  a  body  of  Greeks  who 

Mus°'      ^^^^  surprised  by  a  tempest  on  the  way  to  Rome,  and 


THE  CATACOMBS  441 

arriving  in  safety  were  converted.  He  observed  the 
monastic  life  in  a  hidden  cave,  namely  in  the  arenaria 
of  this  cemetery,  and  he  with  his  companions,  men 
and  women,  were  martyred  under  Claud  the  Goth 
(268).  His  connection  with  the  Novatian  schism  is 
mentioned  in  two  martyrologies.  The  stairway  lead- 
ing to  this  region,  and  evidently  the  approach  to  some 
spot  of  importance,  has  been  discovered,  and  many 
attempts  to  enter  the  arenarium  have  been  made  ;  but 
all  have  so  far  proved  unsuccessful  owing  to  the 
crumbling  nature  of  the  soil,  which  falls  in  upon  every 
fresh  excavation.  A  tombstone  evidently  extracted 
from  this  region  at  some  period  when  it  was  accessible, 
has  the  inscription  "  ad  Epolitu  "  i.e.  near  the  tomb  of 
Hippolytus. 

Beyond  this  region  and  between  it  and  S.  Soteris,  is  Liberian 
the  portion  of  the  catacomb  called  by  De  Rossi  the  region. 
Liberian  region,  from  its  having  been  in  use  and 
probably  added  during  the  pontificate  of  Liberius 
(352-366)  who  was  himself  buried  in  the  cemetery  of 
Priscilla.  A  separate  staircase  (19)  led  to  it,  and  the 
inscriptions  found  in  it  date  from  a.d.  362  to  376. 

It  is  conjectured  that  a  diaconal  crypt  existed  in  Crypt 
this  region  corresponding  to  the  pontifical  crypt  in  the  of  Re- 
older   region ;    fragments   of    an    inscription    to    the  ^^^nptus- 
Deacon  Redemptus,  possibly  by  Damasus,  have  been 
found  in  the  principal  crypt,  and  another  to  a  deacon 
Tigris.     Victorina  is  buried  in  the  same  area,  dying  at 
55    years   old    "  Timens  deum,  integra  fide."     Another 
inscription  is  to  a  virgin  Secunda  who  died  in  362  and 
Hved  20  years  ^^  pur  a  fide  "  both  of  which  inscriptions 
are  supposed  to  refer  to  the  prevalence  of  Arianism. 

In  the  crypt  of  Redemptus,  are  several  mutilated 
fragments  of  a  laudation  one  of  the  only  two  ever  found 
in  the  Christian  cemeteries. 

One  of  the  latest  dates  inscribed  in  catacombs,  comes 
from  this  region,  namely  that  of  a.d.  407. 

The  Liberian  region  was  excavated  after  the  Peace 
of  the  church,    when   no   necessity   for   concealment 


442       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

hindered  the  work  of  the  fossors.  We  find  therefore 
the  galleries  large  and  wide,  and  the  chambers  with 
arches  and  apses,  with  large  and  frequent  luminaria. 
It  contains  naturally  no  martyrs'  tombs,  but  possibly 
from  its  accessibility,  was  much  visited  in  the  xv.  cen- 
tury, when  probably  many  of  its  inscriptions  were 
removed,  as  very  few  remain ;  and  there  are  few 
decorated  arcosolia,  the  paintings  having  in  most 
cases,  been  destroyed  by  damp.  There  are  many  un- 
finished graves  and  arcosolia  in  some  of  the  galleries, 
and  in  others  the  site  only  is  marked  out  upon  the 
walls. 

In  a  narrow  gallery  which  joins  the  Liberian  region 
with  that  of  S.  Soteris,  is  depicted  the  Madonna  and 
child,  with  the  magi  offering  their  gifts.  In  another 
triple  crypt  are  represented  two  disciples  offering  the 
fish  and  bread  to  the  Saviour  to  be  multiplied,  on  the 
ground  are  baskets.  Moses  removing  his  shoes,  Moses 
striking  the  rock.  In  this  region  we  have  also  depicted 
a  scene  from  real  life,  which  is  rare  in  the  catacombs  : 
a  vegetable  seller  in  a  yellow  tunic  striped  with  purple, 
is  represented  among  stalls  of  vegetables  exposed  for 
sale.  At  the  extreme  end  of  the  upper  level  which 
extends  over  the  region  of  Soteris,  are  some  intact 
loculi.  One  inscription  is  to  a  child  of  one  year  and 
four  months  AIOXYCIC  NE0ei2TIM0C,  "recently 
illuminated,"  i.e.  baptized. 

From  the  extremity  of  the  catacomb  of  S.  Callistus 
on  the  north,  stretches  a  vast  network  of  galleries 
which  extends  perhaps  as  far  as  the  catacomb  of 
S.  Balbina. 
S.  Soteris.  S.  Soteris  :  the  illustrious  founder  of  the  Hypogeum 
which  bears  her  name  is  called  in  the  old  martyrologies 
a  virgin  and  martyr,  and  her  feast  day  is  placed  on 
February  lo  or  ii.  S.  Ambrose  writes  of  her,  and 
speaks  of  her  beauty,  her  youth,  her  noble  blood,  and 
her  confession  of  the  faith  under  tortures  and  insults, 
and  to  martyrdom.  The  date  assigned  for  her  death 
is  304  ;  and  as  the  hypogeum  is  then  called  "  her  own  " 


THE  CATACOMBS  443 

it  may  as  such  have  escaped  the  confiscation  of  the 
previous  year.  S.  Ambrose  was  a  member  of  this 
Saint's  family ;  and  when  he  is  writing  to  his  sister 
Marcellina  who  wished  to  dedicate  herself  to  God,  he 
warmly  applauds  her  purpose,  citing  domesticam  pice 
parentis  exempliim,  the  example  given  them  by  "  their 
home  example"  Soteris.  Marcellina,  Satirus,  and 
Ambrose,  however,  do  not  lie  here,  but  near  the 
martyrs  SS.  Gervasius  and  Protasius  at  Milan.  The 
remains  of  Soteris  rest  at  S.  Martino  ai  Monti,  whither 
Sergius  II.  removed  them.* 

CATACOMB    OF    S.    SEBASTIAN    ON    THE    VIA   APPIA. 

This  catacomb,  called  in  all  early  writings  ad  Cata-  Catacomb 
cumhas,  is  the  only  Roman  cemetery  which  has  always  of  S. 
remained  open  :  others  as  we  know  remaining  hidden  Sebastian, 
for  nearly  8  centuries.  The  catacomb,  which  is  of 
small  extent,  has  relived  as  it  were  the  life  of  that  of 
S.  Callistus,  with  which  it  has  been  most  strangely 
confused.  In  the  xv.  century  the  fame  of  the  Callistan 
cemetery  was  so  completely  transferred  to  this  one, 
even  the  position  of  the  former  being  completely  for- 
gotten, that  an  inscription  says  :  "  Hie  est  cimiterium 
beati  Callixti  Papaeet  Martyris  incliti,"  and  one  placed 
here  in  1409  calls  on  us  to  venerate  in  the  Sebastian 
catacomb,  the  tomb  of  Cecilia,  while  other  inscriptions 
speak  of  the  tombs  of  nearly  100  popes,  and  thousands 
of  martyrs.  Even  Bosio  accepted  the  error.  Here 
Philip  Neri,  S.  Bridget,  Gertrude,  S.  Pius  V.,  and 
Charles  Borromeo  came  to  pray,  S.  Charles  spending 
here  whole  nights  of  vigil. 

The  region  which  has  remained  open  is  small,  and 
not  very  ancient :  the  galleries  date  from  the  iv.  cen- 
tury, only  a  few  being  of  the  in.  The  excavated 
portion  of  the  catacomb  probably  bears  only  a  small 
proportion  to  the  whole.  Of  what  is  visible,  all  has 
been  devastated,  galleries,  sepulchres,  and  loculi ;  and 

•  See  p.  447. 


444       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

a  few  inscriptions,  only,  remain.  Signor  Armellini 
conjectures  that  the  antiquity  of  the  cemetery  is  greater 
than  that  generally  accorded  to  it :  bits  of  inscriptions 
in  the  beautiful  ii.  century  character  have  been  found; 
but  until  more  is  excavated,  it  is  not  possible  to  form 
any  certain  judgment. 
Platonia  This  hypogeum  was  rendered  venerable  and  famous 

and  Nas-  from  the  tradition  that  here  the  bodies  of  the  apostles 
coM|%/2o  jj^jj  ^QQ^  translated  and  had  rested  for  several  years. 
Apostles.  ^^^  crypt  where  they  lay  is  approached  by  a  door  on 
the  left  of  the  nave,  a  passage  leading  round  by  the 
high  altar,  and  then  down  some  modern  steps,*  brings 
us  to  an  irregular  shaped  chamber.  A  stone  bench 
runs  round  it,  and  in  the  centre  is  a  square  aperture 
with  bronze  gratings  in  the  ground.  From  this  we 
look  into  a  pit  8  feet  square  and  8  feet  deep.  This  pit 
is  equally  divided  by  a  marble  slab  3  feet  high,  and 
is  lined  with  marble  to  the  same  depth.  The  walls 
have  been  painted  at  periods  not  later  than  the  in. 
century. 

This  is  the  spot  pointed  out  by  tradition,  by  the 
Damasine  carmen,\  by  the  reference  in  the  Acts  of 
Sebastian  which  are  of  the  v.  century,  and  by  the  letter 
of  Gregory  the  Great  to  Constantia  wife  of  the  Em- 
peror Maurice,  as  the  nascondiglio  or  secret  place  where 
the  apostles'  bodies  were  laid.  The  spot  was  visited 
in  the  iv.  and  v.  centuries.  The  division  of  the  nas- 
condiglio into  a  place  for  2  bodies  is  original,  and 
III.  century  work.    Damasus  laid  down  a  marble  pave- 

*  On  the  way  a  piece  of  loculus  stone  let  into  the  wall  has  the 
mark  of  the  lapidary,  or  workshop  from  which  it  came:  the 
Constantinian  monogram  with  Claudiana  inscribed  round  it. 
The  remains  of  a  mediaeval  oratory  are  discernible  halfway  down 
the  opposite  staircase,  half  of  which  is  ancient,  the  other  half 
modern. 

t  The  Einsiedeln  Codex  gives  a  transcription  of  the  carmen, 
made  by  the  anonymous  compiler,  who  copied  it  when  it  stood 
in  situ  in  the  crypt.  A  tiny  bit,  now  let  into  the  wall,  has  been 
found ;  it  consists  of  part  of  an  s.  in  the  Damasine  character. 
For  a  discussion  of  the  removals  of  the  2  apostles'  remains,  see 
Chap.  IV. 


THE  CATACOMBS  445 

ment.  Round  the  crypt  14  arcosoHa  were  originally 
ornamented  with  coloured  stucco  work  of  the  best 
period. 

It  has  been  thought  possible,  from  the  topographical  The 
indications  of  the  place,  the  proximity  of  the  Jewish  Jewish 
burial-places  in  the  villas  Randanini  and  Cimarra,  that  °""^^ 
this  crypt  was  a  principal  mausoleum  belonging  to  the 
Jews ;  and  stucco  work  of  the  same  description  as  that 
found  here  anciently  adorned  these  Jewish  cemeteries. 
Thus  the  site  would  have  belonged  to  compatriots  of 
those    "  Eastern    Christians "    whom    Damasus    and 
Gregory  designate  as  the  capturers  of  the  apostles' 
bodies. 

Not  far  distant  from  this  spot  lay  Sebastian  (see  S.  Sebas- 
p.  136).  If  Damasus  wrote  a  carmen  on  him,  it  has  tian. 
not  yet  been  found.  The  crypt  of  Quirinus,  the 
martyr  bishop  of  Siscia  was  approached  by  a  separate 
staircase,  on  the  west  side  of  the  basilica,  as  we  learn 
from  the  itineraries.  His  body  was  brought  to  Rome 
circa  420.  The  crypt  has  not  been  found.*  Eutychius 
the  Pope  (283)  was  also  buried  here,  and  the  carmen 
of  Damasus  has  been  recovered.  Another  pope  who 
lay  here  was  Fabian  (251)  :  hence  the  basilica  is 
dedicated  to  Fabian  and  Sebastian.  This  cemetery 
constituted  the  great  repository  for  the  relics  which 
were  spread  all  over  the  world  in  the  middle  ages. 
This  is  little  to  be  wondered  at  when  it  is  remembered 
that  the  middle  age  Itinerary  Mirabilia  Roma  refers  us 
to  no  less  a  place  than  coemeterium  Callixti  ad  cata- 
cumbas  ad  ecclesiam  SS.  Fabiani  et  Sebastiani !  The 
cemetery  of  Callistus  ad  Catacumbas  at  the  Church  of 
SS.  Fabian  and  Sebastian !  And  in  the  archives  of 
Briefs  are  to  be  found  documents  giving  licenses  to 
take  away  relics  from  such  a  store-house  of  martyrs' 
memories. 

The  following  is  a  in.  century  inscription  from  an  Inscrip- 
tions. 

*  The  itineraries  erroneously  describe  him  as  "  Pope  and 
martyr."  Refer  to  the  memorial  of  him  in  the  crypt  of  Cecilia, 
P-  431- 


446        CHRISTIAN  AND  ECCLESI4STICAL  ROME 


above  ground  sepulchre  said  to  come  from  here  (De 
Rossi  Bull'  1 881,  pp.  36,  37) : 


MARCELLAE 
SANCTTSSl 
MAE  KEMIN 
AE  ALVNNI 
ANV5  FRATE 
R 


t 


DULVENEMERTI  VICTORI 


t 


FILIO  PARENTES  QUI  AMRIA 
TREIECIT  VIT  D  LXXX  NEOFITUS 
QUIEVIT  IN  PACE  X. 


FLORA  IN  PACE  REQVESQVET- 


5TVBEWT1AE 
MARCELLI  •    DIE\ 
CONS  •  SALLIES  1] 


(i)  To  Marcella,  most  holy  woman,  Alumnianus  her 
brother  (2   anchors).      (2)  His  parents  to  dear  well- 


THE  CATACOMBS  447 

deserving  Victor,  who  in  his  lifetime  had  crossed 
many  seas  (maria),  and  had  lived  as  a  neophyte  (i.e., 
newly  baptized  Christian)  80  days.  (The  original 
is  in  the  Lateran  Museum.)  (3)  Flora  rests  in 
peace  (iv.  century).  (4)  Thus  restored  by  De  Rossi : 
Studentics  depositee  natale  Marcelli  die  xvii.  Kal.  fehniarins 
cons.  Sallies  in  pace.  This  was  found  under  the  altar  of 
S.  Sebastian.  It  is  to  Studentia  deposited  on  the 
Natalitia  (feast  day)  of  the  martyr-Pope  Marcellus. 
The  consular  date  is  a.d.  348. 

From  a  mausoleum  built  near  the  basilica,  one  of 
those  open  air  mausolea  which  existed  there  as  early 
as  the  IV.  century,  we  have  a  tombstone  of  the  gens 
Urania.  The  Uranii  were  a  noble  family  of  the  iii.  and 
IV.  centuries  of  our  era ;  S.  Ambrose's  brother  was 
called  Uranius  Satirus,  and  we  know  that  the  mau- 
soleum of  their  ancestors  was  on  the  Via  Appia  and 
near  the  region  ad  catacumhas.  Ambrose  visited  it  when 
in  Rome.  Thus  as  De  Rossi  says  this  '  Christian 
mausoleum  must  have  been  one  of  the  ancestral 
sepulchres  of  Ambrose,  Satirus,  and  Marcellina.'='= 


VRANIORum 


MAKARIc( 


Of  the  few  paintings  left,  a  representation  of  an  ox 
and  an  ass  at  the  nativity  should  be  mentioned  :  it 
bears  witness  to  the  great  antiquity  of  the  tradition. 
A  sarcophagus  in  the  Lateran  Museum  with  the  con- 
sular date  342,  has  a  similar  representation.  In  the 
roof  of  a  niche  a  large  Infant  is  painted.  In  the 
labyrinths  of  this  narrow  and  devastated  catacomb  is 
the  crypt  in  which  S.  Philip  came  to  pray,  with  a  stone 
recording  the  fact.  Some  few  years  ago  excavations 
were  carried  on  in  this  catacomb,  a  small  phial  of 
blood  plaistered   into  the  loculus  and  other  objects 

•  Compare  also  ante,  Catacomb  of  Callistus,  account  of  S. 
Soteris. 


448       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

being  found  in  our  presence.      We   return   into   the 
church  by  the  entrance  to  the  right  of  the  nave. 


CATACOMB    OF    BALBINA,  VIA   APPIA. 

The  4  catacombs  of  the  Via  Appia  all  lie  between 
the  ist  and  3rd  mile  stone  from  the  gate.  Those  of 
Balbina  (which  comes  first  at  the  junction  of  the  Via 
Ardeatina),  Callistus,"''  and  Sebastian,  all  lying  on  the 
right  of  the  road.  This  is  a  very  large  catacomb, 
covering  an  area  between  the  2  roads  named.  It  is 
excavated  in  several  levels,  the  crypts  being  large  and 
numerous.  It  was  discovered  in  1867  by  Commenda- 
tore  Michele  De  Rossi,  but  the  part  he  explored  had 
been  devastated  by  those  who  penetrated  between 
1 7 16  and  1824.  The  greater  part  is  ruinous,  but  a 
new  entrance  has  been  cut  from  the  catacomb  of 
Callistus,  so  that  it  is  accessible. 
Basilica  This  is  one  of  the  few  cemeteries  constructed  after 
of  Pope  the  Peace.  Originally  known  as  "  of  Balbina  "  it  was 
S.  Mark,  styled  later  "  of  Balbina  or  of  Mark."  At  the  bifur- 
cation of  the  roads  where  is  now  the  little  chapel 
of  "  Domine  quo  vadis,"f  Pope  Mark  built  a  basilica 
(336-40)  the  ruins  of  which  are  yet  visible,  and  here 
he  rests. 
S.  Bal-  The  martyr  to  whom  Mark  dedicated  the  church, 

bina.  and  who  gives  her  name  to  the  cemetery  is  unknown. 

Her  memory  has  been  confused  with  the  daughter 
of  the  martyr  Quirinus.  (Cemetery  of  Praetex- 
tatus.) 

*  Which  perhaps  joins  Balbina  on  the  north. 

t  This  little  chapel,  passed  by  all  on  their  way  to  the  cata- 
combs of  Callistus  or  Sebastian,  was  erected  at  the  spot  where  a 
very  old  tradition  says  our  Lord  met  Peter.  Peter  was  leaving 
Rome  by  the  Appian  Gate,  when  our  Lord  appeared  to  him--and  to 
his  question  "Domine  quo  vadis  "  Lord  where  goest  thou  ?  replied 
vado  Romam  iterum  crucifigar,  I  go  to  Rome  to  be  crucified  again. 
Peter  understood  this  to  mean  that  he  should  himself  return, 
which  he  did  and  met  his  martyrdom.  Compare  with  this  beauti- 
ful experience  or  beautiful  legend,  S.  John  xiii.  36,  37. 


THE  CATACOMBS  449 

CEMETERY   OF    PR^TEXTATUS,  VIA   APPIA. 

This  is  the  only  Christian  catacomb  to  the  left  of 
the  Appia.  It  lies  opposite  that  of  Callistus.  Bosius 
regarded  it  as  part  of  the  latter,  and  its  history  has 
been  much  intertwined  with  that  cemetery.  It  has 
been  inaccessible  for  over  20  years,  being  on  private 
property.*  The  origin  of  this  catacomb  must  be 
placed  at  a  period  not  remote  from  the  Apostolic  age. 

It  is  excavated  in  2  floors,  the  upper  in  this  case 
being  the  least  ancient.  This  upper  floor  was  found 
devastated ;  its  inscriptions  are  iv.  century.  The 
galleries  of  the  lower  floorf  are  sustained  as  in  other 
cemeteries  of  the  same  epoch,  by  a  series  of  arches. 
Many  loculi  here  are  intact,  and  the  inscriptions  are 
chiefly  in  Greek.  Excavations  were  commenced  in 
1848.     The  lower  level  was  excavated  in  1852. 

A  cubiculum  of  classic  character  in  the  lower  level,  A  cubi- 
discovered   in   1857,  with  a  decorated  roof,  has  the  *^"^"'^' ' 
Good  Shepherd  in  the  central  disc,  and  4  scenes  re-  '^^^^"'■y- 
lating  to  the  life  and  passion  of  Christ  in  the  angles. 
These  are  not  later  than  the  end  of  the  11.  century. 
This  is  then  the  most  ancient  record  of  the  Passion, 
after  the  accounts  in  the  Gospels.     The  subjects  are  : 
Our  Lord  with  the  woman  at  the  well.     The  woman 
with  the  issue  at  His  feet,  and  g  disciples.     Soldiers 
striking  the  crowned  head  of  Christ  with  sticks.     The 
plaister  has  fallen  in  parts. 

The  inscriptions  from  this  catacomb  are  to  be  seen  on  Inscrip- 
one  of  the  divisions  in  the  Christian  Museum  of  the  tions. 
Lateran,  and  form  a  family  in  themselves.  They  consist 
of  the  bare  name,  and  the  prevailing  symbol  is  the 

*  This  year  (i8g6)  a  portion  has  been  re-opened ;  the  objects 
visible  in  this  portion  are  marked  (*)  in  our  description.  This 
tract  is  now  entered  from  the  Vta  Appia  Pignatelli,  turning  off  to 
the  left  at  the  Villa  Randanini,  after  passing  the  entrance  to 
S.  Callistus.  But  there  is  another  ample  entrance,  under  private 
property. 

t  The  lower  levels  of  catacombs  were  called  in  debased  Latin 
catabatkum. 

29 


450       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

anchor.  A  slab  closing  a  bisomus  tomb  has  a  Greek 
inscription  in  very  beautiful  letters,  to  husband  and  wife, 
the  wife  has  the  rare  name  Petra.{-')  Surgical  instru- 
ments are  traced  on  one,  betokening  the  profession  of 
the  deceased.  An  epitaph  of  the  first  half  of  the  iii. 
century  is : 

An  e^MjPIT^^'  OTPANIA 

epitaph.  exrATHP-  HP„AHt,' 

(Eumento  ourania  thugater  Herodes) :  which  De  Rossi 
has  rendered :  Bonani  sortem  habeat  Urania  filia 
Herodis  (May  Urania  daughter  of  Herod  have  a  good 
fate.)  The  mention  of  the  father's  name  in  this  way 
is  very  unusual,  and  suggests  at  once  that  he  was 
some  well-known  personality.  In  the  district  under 
which  this  catacomb  was  excavated  the  remains  of  a 
villa  are  still  visible  :  it  has  been  ascertained  that  this 
was  the  villa  of  the  celebrated  Herod  Atticus,  a  Greek, 
one  of  the  preceptors  of  Marcus  Aurelius  and  of  Lucius 
Verus.  De  Rossi  asks  how  can  we  fail  to  conjecture 
that  this  Christian  Urania  was  the  daughter  of  Herod 
Atticus  and  Anna  Regilla  his  Roman  wife  ?'•' 
Martyrs  The  martyrs  buried  here  were  Cecilia's  companions 

buried  Valerian,  Tibertins,  and  Maximns.  The  bishop  Urban. i 
Two  other  deacons  of  Sixtus  H.  Felicissimus  and  Aga- 
pettis.  The  Tribune  Quiriniis,  father  of  the  martyr 
Balbina.  Januarius  the  eldest  of  the  7  sons  of  S.  Feli- 
citas,  and  Zeno.  The  tombs  of  Cecilia's  companions 
were  found  in  1848.  The  tomb  of  Urban  has  not 
been  discovered,  but  the  discovery  will  solve  some 
curious  problems  :  its  position  however  is  known  to  be 
in  the  unexplored  tract  near  the  site  of  the  tomb  of 
Felicissimus  and  Agapetus.  This  latter  has  been  dis- 
covered ;{■•'■)  the  plaister  of  the  apse  of  the  crypt  was 
covered  with  graffiti,  one  running:  succurite  ut  vincam 
in  die  jtidicii  "  Do  you  help  that  I  may  conquer  in  the 
day  of  judgment."     The  tomb  was  flanked  by  2  por- 

*  Herod  Atticus  born  a.d.  104,  died  a.d.  180. 
t  See  Cecilia,  chapter  viii.,  p.  212. 


here. 


1 


THE  CATACOMBS  451 

phyry  and  2  oriental  alabaster  columns,  the  only 
instance  in  the  catacombs."  The  martyrs  lay  in  2 
niches,  high  up,  with  a  marble  grating  before  them. 
The  crypts  of  Januarius(*)  and  Quirinus(''')  have  been 
also  found  ;  the  slab  inscription  of  Damasus(''')  record- 
ing the  former  martyr  is  almost  intact.  There  are  2  en- 
trances to  the  crypt  of  Januarius,  and  the  crypt  itself 
may  be  older  than  the  date  assigned  for  his  martyrdom 
(162).  The  seasons  are  represented  in  it ;  over  one 
arch  a  portion  of  a  Good  Shepherd  is  visible.  In  the 
crypt  of  Quirinus,  that  martyr  is  represented  with  the 
Tribune's  toga.  The  gallery  in  which  these  crypts  are 
situated  was  opened  in  January  1862. 

We  know  nothing  of  the  martyr  Zeno ;  after  the  Zeno. 
Peace  he  was  enumerated  among  the  most  celebrated 
martyrs  of  the  cemetery.  He  is  called  "  fratre  Valen- 
tini,"t  and  appears  with  S.  Valentine  in  that  catacomb ; 
and  in  Paschal's  chapel  in  S.  Prassede.  A  Zeno  is 
said  to  have  been  befriended  by  Prassede  and  Puden- 
tiana.  He  is  not  to  be  confused  with  the  martyr  of 
the  Via  Ostia,  or  with  the  Bishop- Patron  of  Verona. 

Buildings  existed  over  the  area  of  this  catacomb  as  Buildings. 
in  the  case  of  all  the  others  :  here  lived  the  fossors, 
the  clerics,  and  the  guardians  of  the  site.     The  ruins 
of  2  of  these  buildings  are  still  visible,  one  circular, 
one  rectangular.     A  third,  of  which  no  trace  remains, 

*  The  discovery  of  this  crypt  is  partly  due  to  Armellini.  He 
found  the  fragment  of  a  table-tomb  covered  with  graffiti ;  the 
graffito  of  one  priest  being  already  well  known  as  occurring  in 
nearly  all  the  other  sanctuaries.  The  priests'  names  led  him  to 
conclude  that  mass  had  been  celebrated  on  this  stone ;  2  names 
were  written  across  the  priests'  graffiti,  and  these  names  were 
Felicissimus  and  Agapetus.  When  he  fitted  the  fragment  into 
the  table-tomb  in  this  crypt,  the  edges,  plaister,  and  a  band  of 
red  colour  on  both  pieces,  matched  perfectly.  Notice  the  priest's 
signature  alluded  to  :  Leo  presb. ;  the  name  occurs  with  that  of  his 
mother  in  the  cemetery  of  Callistus :  Leo  presb.  et  adeodata  matey 
ejus.  This  is  no  other  than  the  Pope  Leo  IV.  who  had  previously 
been  guardian  of  the  catacombs.  See  also  Armellini,  Scoperta, 
d'lin  graffito  storico  net  Cimiterio  di  Pretestato.     Roma,  1874 

t  See  S.  Pudentiana,  chap,  viii.,  p.  331  note,  and  Catacomb  of 
Valentine,  chap,  x.,  and  S.  Prassede,  viii.  p.  322. 

29 — 2. 


452       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

was  called  in  the  middle  ages :  "  the  church  where 
Sixtus,  with  his  deacons,  was  beheaded."  Here 
John  III.  took  refuge  about  572,  being  here  during  the 
conflict  of  the  Romans  with  the  soldiery  of  Narses. 
The  catacomb  of  Praetextatus  is  believed  to  be  the 
scene  of  Sixtus'  martyrdom.  (See  Callistan  Cata- 
comb.) Among  the  ruins  above  was  found  a  large 
bronze  basin  with  handles,  now  in  the  Kircherian 
Museum.  It  is  engraved  with  the  evangelical  fishing 
scenes,  and  was  perhaps  used  for  baptism.  The  under 
floor,  containing  many  precious  records  of  the  first  3 
centuries,  has  been  as  yet  only  imperfectly  explored. 
Prastex-  The  Praetextatus  who  names  this  catacomb,  is  un- 

tatu§.  known  to  us  ;  but  the  first  Christian  Cecilii  and  this 
Praetextatus  were  in  all  likelihood  related.  The  friend 
of  Damasus,  the  great  champion  of  paganism  and 
antagonist  of  the  Christians,  Vettius  Agorius  Pratextatus, 
may  have  been  a  member  of  the  same  family.='= 

For  a  Greek  inscription  to  Armenia  found  in  this 
catacomb  see  the  following  account. 

VILLA   OF    S.    "  MARMENIA,"    VIA   APPIA. 

On  the  right  of  the  road  after  passing  the  basilica 
of  Sebastian,  we  come  to  some  excavations  recently 
opened  to  the  public,  and  which  consist  of  the  remains 
of  a  Roman  villa  and  an  arenarium  made  by  its  owner 
"  Marmenia."  A  pagan  cemetery  existed  here  anterior 
to  the  villa.  The  story  is  that  Marmenia's  husband 
was  a  judge,  and  as  such  condemned  Pope  Urban  to 
death.  Becoming  a  Christian  on  her  husband's  death 
she  removed  Urban's  body  here  from  the  catacomb  of 
Callistus,  i  and  converted  her  villa  into  a  burial  place 
for  the  Christians.  De  Rossi  observes  that  Marmenia 
is  not  a  Roman  name,  and  that  it  is  probably  an  error 
for  A  rmenia,  an  illustrious  gens  of  this  name  existing 
under  the  Empire.    In  the  catacomb  of  Praetextatus, 

*  See  the  catacomb  of  Pn5«7/a. 

t  The  story  is  given  in  the  apocryphal  acts  of  Urban's 
martyrdom,  x.  century. 


THE  CATACOMBS  453 

we  find  in  fact  that  this  family  had  a  Christian  member 
here  buried  : 

APMEXIA-  *HAIKITAC- 

AIAIA    PHriNA. 

Mlia  Regina  to  Armenia  Felicitas. 

The  loculus  is  intact. 

CEMETERY   OF    S.    NICOMEDES,    VIA   NOMENTANA.  VlA 

This  cemetery  was  discovered  in  the  villa  of  Mar-  tana. 
chese  Patrizi  in  1864,  who  allowed  it  to  be  excavated.  Catacomb 
But  a  new  quarter  of  the  city  is  in  progress  of  building  of  S. 
over  the  site,  and  the  excavations  had  to  be  suspended  ^i"** 
on  account  of  the  dangers  of  access.     The  proof  that 
we  have  here  a  i.  century  cemetery  has  therefore  been 
impossible  to  procure.     It  is  of  small  circuit,  and  has 
all  been  despoiled. 

De  Rossi  judged  that  the  portion  just  opened  is  of 
very  great  antiquity.     The  inscriptions  are  certainly 
anterior  to  the  iv.  century,  and  are  both  in  Greek  and 
Latin.     A  cubiculum  with  Greek  inscriptions  which  Cubicu- 
speak  of  a  Roman  Matron  Catianilla,  of  her  husband,  lum 
and  one  of  her  sons,  shows  us  that  it  belonged  to  the  9?^^^^" 
Catius  family,  a  noble  Roman  gens  which  gave  many 
Christians  to  the  church.     Near  this  cubiculum,  the 
following  was  found  : 

,  . .  Ai  ePrononoiw  67x0 

...  ft)  MHTPI  KATIANIAAHI 

The  second  line  reads  matri  Catianilla  ;  the  first  line 
De  Rossi  reads:  Kai  kpyoTro{iro)i(a,t\\e  stonecutter  having 
doubled  iro  in  error.  The  meaning  is  kpyoiroiia,  to  one 
operosa,  lahoriosa.  The  term  operarius,  workman,  had 
been  ennobled  by  Christianity,  but  among  the  Romans 
was  a  title  of  contempt.  In  Christian  inscriptions  it 
is  used  as  one  of  praise  and  of  virtue.  This  inscription 
then  refers  to  Catianilla,  the  mother,  whose  hands  were  full 
of  works.* 

*  In  the  Catacomb  of  Petrus  and  Marcellinus  a  similar  word 
stands  in  place  of  coniux :  cum  laborone  sue.  In  the  Jewish  cemetery 
on  the  Appia  the  same  word  is  employed. 


454       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


An  open 
air  sepul- 
chre. 


A  second 

hypo- 

geum. 


S.  Nico- 
medes. 


In  a  sepulchre  standing  by  this  basilica  there  is  an 
inscription  of  ten  lines,  which  contains  nothing  Chris- 
tian, but  it  says  that  the  sepulchre  is  open  to  those 
liherti  "  at  religionem  pertinentes  meam,"  the  freed 
men  belonging  to  the  owner's  religion.  Placed  like 
this  in  the  open  day,  though  as  we  see  containing 
nothing  distinctively  Christian  about  it,  the  sepulchre 
and  inscription  must  certainly  date  either  from  a  period 
anterior  to  Nero,  or  from  the  peaceful  years  of  his 
reign,  or  from  the  interval  between  his  death  and  the 
reign  of  Domitian.     That  is  they  belong  to  the  period 

A.D.  50-80. 

A  second  hypogeum  with  a  separate  staircase  has 
been  found  near  this  catacomb  ;  it  is  very  small,  and 
may  have  belonged  to  the  Christian  Pretorian  Guard, 
the  Pretorian  camp  being  near.  Inscriptions  to  Pre- 
toriani  of  the  end  of  the  11 1.  century  have  been  found 
here  ;  but  it  may  be  much  older,  and  contain  the  graves 
of  the  first  converts  from  that  body. 

Nicomedes  was  a  priest  martyred  in  the  persecution 
of  Domitian  (a.d.  90  circa).  He  was  flagellated  with 
leaden  rods  till  he  died,  and  then  thrown  into  the 
Tiber,  from  which  one  of  his  assistant  priests  Justin 
recovered  his  body,  and  buried  it  in  his  own  garden 
{horttis  Jtisti)  near  the  Nomentanawall.  His  feast  day 
is  kept  on  September  15.  His  acts  are  incorporated  in 
those  of  Nereus  and  Achilleus,  the  soldiers  of  Domi- 
tilla's  Household,  said  to  have  been  baptized  by  Peter, 
and  who  have  been  shown  from  excavations  in  the 
catacomb  of  Domitilla  to  be  Pretorian  Guards. 


The  Via 
Nomen- 
tana  and 
Porta 
Domnse. 


CATACOMB    OF    S.    AGNES,    VIA   NOMENTANA. 

The  Roman  Via  Nomentana,  to-day  called  Via 
"  20  Settembre"  as  far  as  the  Gate,  but  which  before 
September  20,  1870,  was  called  Via  di  Porta  Pia,  was 
anciently  the  site  of  several  celebrated  villas.  In  the 
Villa  of  Faonte  his  freed  man,  Nero  destroyed  him- 
self in  order  to  escape  falling  into  the  hands  of  the 
Senator's  messengers  ;  and  here  Martial  had  his  farm  ; 


THE  CATACOMBS 


455 


and  Seneca  speaks  of  his  villa  on  this  road  as 
suhirhanum  and  Nomentanum  meum.  The  ancient  gate 
was  much  nearer  Rome  than  the  present,  and  the 
modern  road  diverges  slightly  from  the  ancient ;  the 
present  gate  is  in  the  same  position  as  the  Porta 
Nomentana  of  Honorius  erected  in  a.d.  400.  At  the 
time  of  S.  Agnes's  martyrdom  (258)  the  gate  was  the 


Porta  Colhna,*  opening  on  the  Via  Nomentana  antica. 
The  former  was  afterwards  known  as  the  Porta  Doinna, 
gate  of  the  Domna,  or  martyr,  and  the  toll  here  used 
to  be  levied  by  the  nuns  of  S.  Agnes's  Monastery. 
There  is  still  a  large  Madonna  and  child  painted  over 
this  Gate  of  the  Lady. 

From  the  end  of  the  i.  century  till  the  middle  of  Christian 
the  III.,  when  Agnes  and  Emerentiana  were  martyred,  memories 
nothing  occurred  to  affect  the  history  of  this  part  of  ^q^^, 
the  Via  Nomentana.     With  the  accession  of  Galba  tana. 
(a.d.  68)  till  the  death  of  Titus  (a.d.  81)  the  church 
enjoyed  peace ;  and  the  persecution  of  Domitian  which 

*  The  site  of  this  Gate  is  where  now  stands  the  Ministry  of 
Finance.  Collina  means  Gate  of  the  Collis  Quirinalis,  that  hill 
being  called  Collis,  all  the  others  being  termed  Monies.  The 
Honorian  Gate  continued  to  be  called  Porta  Domnae  Agnetis  from 
the  IX.  to  the  xvi.  century,  when  Pius  IV.  (Medici)  named  it 
Porta  Pia. 


456       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

followed,  left  its  trace  higher  up,  near  the  Nomentana 
Gate,  where  the  Christians  buried  Nicomedes.''= 
The  cata-  The  soil  in  which  the  catacomb  of  S.  Agnes  is  con- 
comb,  structed  is  volcanic  tufa  of  the  kind  called  granular, 
which  is  so  friable  in  some  parts  that  even  the  fossors 
had  to  support  part  of  the  excavation  with  walls ;  and 
other  walls  have  been  constructed  later  to  prevent 
whole  regions  falling  in.  Otherwise  this  is  one  of  the 
best  preserved  of  all  the  cemeteries.  It  is  excavated 
1 1  metres  below  the  level  of  the  Via  Nomentana ; 
many  bodies  are  still  in  situ,  and  the  cemetery  retains 
its  primitive  character  owing  to  a  tenacious  deposit 
which  spread  itself  across  the  tufa  of  the  galleries. 
It  was  thus  preserved  from  devastators,  especially 
from  the  xi.  to  the  xvi.  centuries.  It  is  excavated  in 
2  levels,  of  which  the  upper  was  almost  completely 
destroyed  by  the  construction  of  the  Basilica  and  its 
annexed  buildings. 

The  cemetery  is  entered  by  2  staircases  from  the 
Basilica,  and  a  third  from  S.  Costanza ;  of  these  only 
one  is  ancient,  that  behind  the  apse  of  the  basilica,  and 
of  this  only  the  lower  part  remains.  We  enter  to-day 
from  the  aisle  near  the  sacristy.  S.  Agnese  is  not  one 
of  the  25  great  cemeteries  of  Rome  dependent  on  a 
parish  within  the  city  ;  and  its  narrow  proportions, 
and  the  absence'  of  large  crypts  in  which  meetings 
could  be  held  agree  with  its  traditional  character  of  a 
domestic  catacomb. 
Four  It  consists  of  4  hypogaea,  constructed  at  different 

hypo-         epochs,  and  incorporated  together  at  some  period  after 
^^^-  the  Peace.     The  origin  of  the  Jirst  nucleus  is  "  lost  in 

the  darkness  of  the  ages."  It  lies  on  the  side  where 
now  is  the  left  transept  of  the  basilica,  and  here 
Agnes  was  interred.  The  galleries  are  short,  the 
system  of  excavation  is  rectangular,  there  are  several 
levels,  short  ascents  and  descents,  and  the  entire  level 

*  This  persecution  of  Domitian,  of  which  we  have  the  Christian 
tradition  on  the  Via  Ardeatina  and  here,  is  mentioned  by  Ignatius, 
Justin,  Clement,  and  Tertullian. 


THE  CATACOMBS  457 

is  distinct  from  the  rest  of  the  cemetery.  It  has  an 
epigraphy  proper  to  it,  and  there  is  no  trace  of  any 
period  as  late  as  Constantine.  All  these  signs  mark  it 
off  as  a  special  hypogeum.  In  it  is  the  cubiculum  of 
Fortunata  and  Domitian,  and  in  the  same  area  is  a  small 
tract  called  by  Sig.  Armellini  the  hypogeum  of  Ahilia 
Domna,  from  its  principal  inscription. 

The  second  region  was  begun  on  the  right  of  the  Second 
basilica  ;  it  is  second  both  in  chronological  order,  and  hypo- 
in  historical  importance.     The  natural  defects  of  the  &^^"^- 
soil   and   "  human   barbarism "    have   however   com- 
bined to  efface  the  latter.     All  the  loculi  here  have 
been  opened,  and  as  the  slabs  helped  to  support  the 
walls,  large  hollow  spaces  have  been  created.     It  was 
entered  almost   immediately   from   the   first  nucleus, 
and  its  level  is  nearly  the  same.     It  was  constructed 
all  round  the  martyr's  resting  place,  and  dates  from 
her  interment.     This  catacomb  is  an  eloquent  monu-  "Ad 
ment  to  the  well  known  desire  of  the  Christians  to  be  sancta 
buried  near  the  martyrs ;  it  owes  its  existence  to  this  rn^^rtura. 
desire,  and  from  this  second  hypogeum  probably  comes 
the  inscription  in  which  it  is   expressly  stated   that 
Eufrosine  and  Decentia  wished  to  be  buried  ad  sancta 
MARTURA.     And  here  too  was  discovered  the  seal  of  SigilUm 
Lucina,     The  third  region  though  commenced  at  the  Lucina. 
decline  of  the   in.  century,  had  its  greatest  develop-  Third 
ment  after  the  Peace  ;  the  excavation  proceeding  all  "^^gion. 
through   the    iv.    century,  when   it    ceased.      It    was 
opened  in  the  last  years  of  the  Diocletian  persecution, 
and  is  the  largest  of  the  4  regions  ;  the  level  being 
much  the  same  as  that  of  the  original  nuclei.    Between 
the  Basilica  and  the  church  of  S.  Costanza  stretches  Fourth 
the   fourth    region.      Originally   this    zone   was    the  area, 
sepulchre   of    the   soldiers   of    the    Pretorian    cohort 
abolished  by  Constantine,  and  the  site  of  some  Pagan 
Columbaria.     The  families  to  whom  these  had  belonged 
had  for  the  most   part  become  Christian,   and   they 
excavated  in  the  remainder  of  the  area  a  cemetery 
which  was  incorporated  later  with  S.  Agnese. 


458       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Inscrip- 
tions. 


In  the  oldest  part  of  the  catacomb  many  inscriptions 
can  be  seen  in  situ,  resembling  in  antiquity  and  classical 
form  those  in  the  neighbouring  Ostrian  cemetery ; 
some  are  intact  as  they  were  left  by  the  ancients,  and 
all  are  of  a  type  peculiar  to  this  ancient  region,  and 
found  only  within  this  small  compass.  Dulcissimus  is 
the  word  proper  to  this  catacomb.  The  word  depositio 
belongs  to  the  second  region  (end  of  in,  century).  In 
the  next  century  we  have  instead  depositus,  a.  In  the 
first  region  we  have 


EUTICHIAE 

AEBUTIAE 

VIDUAE 


The  title  vidua  is  here  a  title  of  honour,  referring  to 
her  rank  in  the  Church.  It  is  of  the  end  of  the  ii.  or 
beginning  of  the  iii.  century.  The  origin  of  the  name 
Eutichia  is  uncertain  ;  the  hypogeum  of  S.  Soteris 
which  forms  part  of  the  catacomb  of  Callistus,  was  the 
property  of  the  Eutychiani.  To  the  same  region  belong 
the  following  : 


(I) 


EUTICHIAE  FILIAE 


(2) 


FL  ■  AGRIPPINAE  •  ULPIAE  ■  AGRIPPINAE 
FILIAE  •  DULCISSIMAE. 


(3) 


MARCELLA 


(4)    ^f/RELIA. 


(5)    ERACLIA. 

o h-° 


THE  CATACOMBS  459 

The  names  Ulpia  and  Flavia  fix  the  date  of  this  2nd 
inscription  to  the  reigns  of  Vespasian  or  Trajan.  The 
gentilitium  of  the  mother  and  daughter  are  different ; 
among  the  ingenuce,  children  could  assume  the  gen- 
tilitium of  either  father  or  mother.  (4)  and  (5)  belong 
to  the  age  of  the  Antonines. 


AUR-  VALENTINUS-  ET-  FLAVIA-  LONGA-  lULIA- 
FIL-  DULC-  P-  POS. 


The  words  parentes  posuerunt  (P  •  Pos.),  rare  in  this 
earliest  class  of  inscription,  occur  in  epitaphs  of  the 
same  class  in  the  neighbouring  cemetery. 


lULIAE  •  INGENIOSAE 
CONIUGI  •  RARISSIME- 
AURELIUS  •  DATUS. 


Aurelius  Datus  to  Julia  Ingeniosa  his  most  rare  wife. 
A  beautiful  Greek  inscription  is  : 

ATPHAIA  ePEHTH 
ATPHAI&)  HAIOAwPg) 
CTMBIftJ  rATKTTATG) 

Aurelia  Trepta  to  Aurelius  Eliodorus  most  sweet 
husband  {companion). 

Another : 


MARTURIUS 


This  name  is  a  record  of  the  cult  of  the  martyrs.     In 
the  III.  and  iv.  centuries  it  is  not  a  rare  cognomen,  and 


46o       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

is  found  up  to  the  time  of  Gregory  the  Great.     A 
III.  century  fragment  has  : 


ANIM  .  DULC/5 
IN  PACE 


Sweet  soul.    In  Peace. 

To  the  third  region  belong  the  following  epitaphs : 
(i)  found  amongst  the  masonry  of  a  staircase  : 

....  vixit  annos  IIII.  mensibus  .  .  . 
.  .  .   feciT  PATER  Filio  benemerenti  .  .  . 
.  .  .  In  CRISTO 
{The  capital  letters  are  those  that  remain ;  the  italicised  letters  are  the 
suggested  reading.) 

One  of  the  very  rare  examples  of  the  name  of  Christ. 

(2) 

CONSTANTIA  ET  BASILI  FRATRIS. 


To  Constantia  and  Basil,  brethren. 


(3) 


AELIO  ■  QUI  VIXIT  ■  ANNIS  •  XXXIII  ■  MATER  • 
FECIT  •  FILIO  •  BENEMERENTI    IN  PACE. 


Another 
(4) 


I- 


PE 


E  or  P,  E,  occur  on  inscriptions  not  earlier  than  the 
IV.  century,  and  until  the  end  of  the  vth.  Much  con- 
troversy has  arisen  as  to  their  meaning :  Palmaemerita, 
Pramia  emerita,  Pyamii  ergo,  have  been  suggested.     A 


THE  CATACOMBS 


461 


palm  or  other  emblem  of  good  augury  accompanies  the 
letters,  which  are  found  on  tombs  whose  allusion  is  to 
something  festive  or  victorious. 


(5) 


FL.    URBICUS   FECIT 

SIBI   ET   VICTORIE 

NICENI  VIRGINAE 

SUAE  MNIB 

VS  S  VIBO 


Flavius  Urbicus  fecit  sibi  et  Victoriae  Niceni  Virginse  suae 
et  omnibus  suis  se  vivo. 

Flavins  Urbicus  made  this  for  himself  and  Victoria  Nicenis  his  wife, 
and  for  all  his,  in  his  lifetime. 

(6)  This  inscription  is  in  its  place,  though  the  marble 
is  broken  : 

AUR.  URSA.  AUR.  MESTRANETI 
MATRI  .  IN  .  PACE. 
Aurelia  Ursa,  Aurelia  Mestraneti  matri  in  pace. 
(Aurelia  Ursa  to  her  mother.) 


(7) 


VRANIA  ET 


The  letters  here  are  larger  than  usual.  The  inscrip- 
tion belonged  clearly  to  two  personages  of  special  dis- 
tinction Urania  et .    (8)  filumino  benemerenti  qui 

VIXIT  ANNIS  XXXVI  MENSES  VI  DIES  XVII  IN  PACE.  UXOR 
MARITO    QUI  FECIT   CUM  COMPAREM  SUAM  ANNIS   XIII    ET 

DIES  XIII.  To  the  well-deserving  Filuminus,  who  lived 
36  years  6  months  17  days.  In  peace.  His  wife  to  her 
husband,  who  lived  with  his  companion  13  years  and 

13  days.  (9)  EUCARPIATI  CONIUGI  SU.E  BENEMERENTI 
SE   BIBU    FECIT    QUIB.    AN.    P.L.M.    XXVIII.    ET  CU.   VIRG. 

FET.  AN.  VIII.  M.  VI.  D.  XVII.  To  his  wife  Eucarpia  he 
made  it  in  his  own  lifetime ;  who  lived  about  {plus  minus) 


462       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


28  years,  and  cum  virginio  fecit  annis  viii.  etc.     (lo)  In- 
scription to  :   FIDES   IN   PACE. 

The  name  Fides  (Faith)  is  rare,  but  the  Greek  form 
Ilto-Tis  is  less  so.  We  have  a  catacomb  inscription 
Piste  Spei  sorori  dtdcissima  fecit :  Faith  placed  it  to  her 
sweet  sister  Hope.''' 

(II) 

SEVERA  MARITO  CONIUGI  BE 

NEMERENTI  IN  PACE  QUI  VIXIT  ANNIS  LXV. 


Severa  to  her  well-deserving  husband  (maritus  coniux). 
In  peace.     Who  lived  65  years. 

To  the  fourth  region  belongs  the  following : 


MARGARITE  INNO 
CENTI  IN  PACE  QUAE 
VIX. ANNIS  QUIN  .  . 


To  Margaret  innocent  one  in  peace  who  lived fifteen  years. 

A  IV.  century  inscription  to  Verecunda  speaks  of  her 
as  perit  (prit).  This  word  for  death  occurs  first  in 
this  century.  Perit  nonas  octobris  ora  metis  prima,  a 
particularity  of  detail  foreign  to  the  ancient  inscrip- 
tions. Under  the  Basilica  Marini  saw  the  3  following 
inscriptions : 

(1)  CLODIA  •  ISPES  •  LIB  •  CLODI  •  CRESCENTIS  • 

(2)  L.  CLODIUS    CRESCENS  •  CLODIAE  •  VICTORIAE  • 
-    I 


(3) 


TPO*EINHC 
TAHrORI 


*  The  catacombs  show  us  2  groups  of  saints,  on  the  Via  Appia 
and  Aurelia,  called  Faith,  Hope,  and  Charity,  whose  mother  was 
called  Sapientia  or  Sofia.  The  Diario  Romano  marks  Septem- 
ber 30  as  the  feast  of  one  of  these,  whose  bodies  repose  at  S. 
Silvestro  in  Capite. 


THE  CATACOMBS  463 

Which  Marini  translates  Trophime  vigila  !  Trophimus, 
watch ! 

This  catacomb  presents  us  with  a  series  of  names  Names, 
more  commonly  adopted  in  the  i.  and  11.  than  in  the 
III.  and  succeeding  centuries :  Phoebe,  Narcissus, 
Eunice,  Epaphroditus,  Epaphras,  Crescens,  Alexander, 
are  all  names  mentioned  in  the  Pauline  Epistles.  But 
nothing  better  illustrates  our  closeness  to  the  apostolic 
age  than  an  inscription  which  has  come  to  light,  in 
calligraphy  which  is  the  exact  copy  of  the  undoubted 
inscription  to  Petwnilla,  S.  Peter's  spiritual  daughter  : 

AELIANE  .  REPENTINAE 
FILIAE  .  DUE. 

The  rare  name  Agapittis  occurs  here  also  ;  and  in  the 
3rd  region  the  rare  name  Melior,  of  whom  it  is  said 
vixit  in  pace ;  this  expression  as  we  have  seen  is  usually 
found  on  the  tombs  of  foreigners ;  Melior  probably 
came  from  Africa.  It  is  a  coined  Christian  name,  with 
a  Christian  allusion  in  it. 


AURELIA  :  PHOEBILLA  •  ET 
P.  AELIUS  •  NARCISSUS. 


The  servile  names  Narcissus  and  Phcebilla  belong  to 
the  best  times  of  the  Empire.*  The  man's  first  2 
names  are  those  of  the  house  in  which  he  was  a  slave, 
the  third  is  the  name  given  him  by  his  master.  The 
woman's  servile  name  is  joined  to  the  cognomen  of  the 
house  to  which  she  belonged.  In  this  case  it  is  taken 
from  the  household  of  Caesar.  Other  inscriptions  are 
Nepotiane,  Sabine,  Pelagia,  this  last  with  an  olive 
branchlet  and  a  dove ;  it  is  pre-Constantinian.  The 
names  on  other  inscriptions  from  this  catacomb  are  as 
follows  :  Anastasius,  Antherus,  Apronianus,  Aurelia — 

*  Cf.  Romans  xvi.  i  and  xvi.  11.  Phcebe  and  Phcebilla  are  the 
same,  as  Prisca  and  Priscilla . 


464       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

ius,  Bonifatia,  Comina,  Constantia,  Dionysia,  Emilia, 
Eros,  Faustinus — ianus,  Felicita,  Flora,  Florentina, 
Gaudentius,  Gregorius,  Januarius — a,  Leonides,  Lucius, 
Macarus,  Mellita,  Messula,  Pastor,  Secundus,  Secun- 
dina,  Siricus,  Theodolus,  Urbica,  Valerianus,  Victoria, 
Vitalis,  Volunius,  Zoticus. 

An  ancient  inscription  to  a  husband  and  wife  is : 


GRANIA  .  ET  .  ALEX 
ANDER. 
GRANIA  BONA. 


Opposite  this  was  found  the  skeleton  of  a  youth 
with  threads  of  gold  stuff  between  the  feet.  This 
denotes  the  noble  condition  of  the  deceased.  De 
Rossi  notices  a  few  other  rare  examples,  none  of 
which  are  in  Rome.  In  a  gallery  here  is  the  follow- 
ing : 

VALE  MICHI  KARA  IN  PACE  CUM 


SPIRITA  XANTA  VALE  IN 


% 


An  exactly  similar  inscription  was  found  in  the  hypo- 

geum  of  S.  Soteris,  and  moved  to  Anagni  by  Maran- 

goni :    it    is    to   one  Amelia  Aniane    placed    by   her 

husband."^'    Another  inscription  ends  :  spiritum  tuum 

DEUS  REFRiGERET.     May  God  refresh  yotiY  Spirit. 

Symbo-  In  one  of  the  galleries  is  an  orante  within  a  crown 

lism  and     of  leaves,  between  the  letters  Aw.     X  is  found  on 

paintings,  n^^ny  loculi  in  one  special  group  of  galleries.   Once  it  is 

^xX^  and  once    y^  •    A  piece  of  Constantinian  money 

was  found  in  this  region,  the  head  of  Rome  and  the  in- 
scription urbs  Roma  on  one  side ;  the  impress  of  the 
reverse  side  remains  in  the  cement,  it  is  the  wolf  giving 
suck  with  Romulus  and  Remus  beneath ;  a  shepherd 
*  Roma  Sott.,  iii.  p.  131. 


THE  CATACOMBS  465 

on  either  side,  and  a  star.  The  symbol  of  the  ship 
occurs ;  and  from  here  came  the  pisciculus  going 
towards  a  piece  of  bread  with  its  mouth  half  open, 
the  Constantinian  monogram  under  the  bread,  men- 
tioned elsewhere.      In  the  third  region  we  find      P 

and  the  fish  and  bread.     A  glass  with  Peter  and  Paul 
represented  belongs  to  this  region,  and  here  too  is  the 
tomb  of  a  fossor,  represented  with  his  dolabra,  or  pick- 
axe.     The  small  objects  found  include  many  glass  Small 
vases,  of  which  impressions  remain   in   the  cement,  objects 
nearly  all  of  these   being  walled   into   the   loculi  of  °"°  ' 
children.      Earthenware   lamps,    shells,  enamel,  and 
money  have  also  been  found. 

In  the  museum  at  Naples,  in  the  category  epigrafi  The 
provenienti  da  Roma  N".   1883,  there   exists  what  Ar-  [^.^"^^^f 
mellini  judges  to  be  the  original  title  of  S.  Agnese  g  ^gnes 
from  this  catacomb. 


AGNE . SANC 
TISSIMA 


It  is  on  a  fine  piece  of  Palombino  marble,  and  the 
small  size  denotes  a  child's  grave.  Bosio  speaking  of 
Agnes's  tomb  which  he  saw,  writes :  "  Si  videro  I'ossa 
della  santa  picciolissime,  che  ben  denotavano  esser 
fanciulla  di  pochi  anni."  The  word  Sanctissima  is 
employed  here  absolutely,  as  part  of  her  name  ;  and 
Armellini  points  out  that  it  is  the  word  employed  by 
the  writer  of  her  acts :  "  Diem  festum  Sanctissima 
Virginis  celebremus."  In  this  absolute  sense  Sanctus 
was  synonymous  with  Martyr.  Martyr  was  used 
sometimes  for  those  who  had  not  died  or  even  suffered 
for  the  faith,  as  we  use  "  confessor  "  to-day  ;  but  even 
on  martyrs'  tombs  M  is  seldom  placed.  The  reason 
for  this  is  partly  that  the  character  and  form  of  the 
earliest   inscriptions   are   private   and   domestic,   and 

30 


466      CHRISTIAN  AND  ECCLESIASTICAL  ROME 

that  the  oldest  epitaphs  are  all  laconic.  The  memory 
of  the  martyrs  was  preserved  by  the  church  otherwise, 
namely  in  the  diptychs.  The  Christian  poet  Prudentius, 
IV.  century,  speaks  of  tombs  on  which  are  inscribed 
the  number  of  those  interred,  "  quorum  solus  habet 
comperta  vocabula  Christus  "  their  names  being  known  to 
Christ  only. 


OSTRIAN   CEMETERY   OR    CCEMETERIUM    MAGNUS,    ON 

THE  VIA  NOMENTANA.     (Vtgna  Leopavdi.) 

Ostrian  The  Via  Nomentana  is  one  of  the  most  ancient  of 

catacomb,  the  Roman  roads,  it  is  the  ancient  Via  Ficulensis  and 
is  mentioned  by  Livy  in  a.u.c.  301.  Ficulea  was  a 
city  9  or  10  miles  distant  from  Porta  Collina.*  The 
Ostrian  cemetery  lies  at  the  junction  of  the  Salaria 
with  the  Nomentana,  in  a  vigna  on  the  left  about  a 
^  of  a  mile  beyond  the  Basilica  of  S.  Agnese. 

The  origin  of  the  Ccemeterium  Ostrianiim  is  unknown  to 
us  ;  but  it  was  presumably  originally  a  private  founda- 
tion, like  the  great  cemeteries  of  Callistus,  Priscilla, 
Pontianus,  Giordani,  Praetextatus,  Maximus,  Novella, 
Thrasus.  Up  to  a  few  years  ago  it  was  erroneously 
called  the  "  catacomb  of  S.  Agnese,"  and  was  believed 
to  be  the  family  sepulchre  of  the  gens  to  which  S. 
Agnes  belonged  :  it  has  been  remarked  that  her  im- 
portance in  early  Christian  history  is  shown  by  this 
mistake,  which  transferred  to  the  Ostrian  cemetery 
the  name  of  the  small  catacomb  hallowed  by  her 
martyrdom. 

In  the  XIV.  century  guide  book  "  Mirabilia  Romae," 
it  is  called  Ccemeterium  fontis  sancti  Petri,  or  ad  jiympham 
S.  Petri.  In  the  time  of  Gregory  the  Great  Johannes 
the  presbyter  sent  to  Rome  to  collect  relics  by  Theo- 
dolinda,  Queen  of  the  Lombards,  brings  oil  from  the 
"  ccemeterium  fontis  S.  Petri,  ubi  prius  sedit  scs.  Petrus," 
and  this  cemetery  was  on  the  Via  Nomentana. 
Another  itinerary  has  "  ccemeterium  S.  Agnetis  idem 

*  See  catacomb  of  S.  Agnese,  p.  455. 


Names 
given  to 
this  cata 
comb. 


THE  CATACOMBS  467 

est  ac  coem.  fontis  " — the  cemetery  of  S.  Agnes  is  the 
same  as  the  cemetery  of  the  Font.  In  the  apocryphal 
acts  of  Liberius  and  Damasus,  which  are  ancient,  and 
worthy  of  credence  on  points  of  topography,  we  read 
"  non  longe  a  coemeterio  Novellae  Coemeterium  Os- 
trianum  ubi  b.  Petrus  apostolus  baptizaverat  "  :  "  Not 
far  from  the  cemetery  of  Novella  is  the  Ostrian 
cemetery,  where  blessed  Peter  the  Apostle  baptized." 
When  Panvinius  compiled  his  catalogue  he  placed  the 
Ostrian  cemetery  first  in  antiquity  "  because  it  was  in 
use  when  S.  Peter  preached  the  faith  to  the  Romans." 
We  find  the  pre-Constantinian  name  for  the  cemetery 
was  Coemeterium  Ostrianum,  while  after  the  Peace 
it  was  invariably  called  ad  nymphas  b.  Petri — Blessed 
Peter's  Well. 

Until  the  solution  offered  by  De  Rossi,  the  meaning  The  feasts 
of  these  various  names  was  unintelligible.  He  drew  of  the 
attention  to  2  separate  feasts  marked  in  the  Roman  "  ^^^^"^  °f 
Breviary,  each  of  which  is  a  commemoration  "  of  the  ^^^^' 
Chair  of  S.  Peter  ":  ancient  tradition  had  pointed  to 
this  cemetery  as  one  where  Peter  baptized  during  the 
alleged  first  visit  to  Rome  in  the  reign  of  Claudius, 
and  also  to  there  being  here  his  cathedra,  the  place 
where  the  apostle  first  sat  in  Rome.  The  2  feasts  are 
on  January  18  and  February  22,  and  their  existence 
was  so  perplexing  to  later  liturgists  that  while  the 
February  feast  was  called  the  "  chair  of  S.  Peter  at 
Antioch,"  it  still  remained  inexplicable  that  no  men- 
tion of  the  Vatican  "  chair  of  Peter  at  Rome  "  occurred 
in  the  Breviary  account  of  the  feast  in  January  ;  and 
this  omission  was  corrected  by  a  Bull  of  Paul  IV.  as  late  as 
1557.  On  the  other  hand  in  the  Sermon  de  Sanctis,  xv. 
attributed  to  Augustine,  and  preached  on  February  22, 
there  is  no  allusion  to  Antioch ;  the  same  is  true  of  the 
Gelasian  and  Gregorian  Sacramentaries.  Indeed  more 
than  this,  for  while  the  Gregorian  liturgy  calls  this 
day  the  Cathedra  sancti  Petri,  a  MS.  codex  of  the 
same  calls  it  Cathedra  S.  Petri  in  Roma. 

In  the  VI.  century  we  found  Theodolinda's  messenger 

30 — 2 


468       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

bringing  oil  from  a  catacomb  on  the  Nomentana  de 
sede  iihi  prius  sedit  sci.  Petrus  ;  in  the  Roman  Breviary 
the  feast  on  the  18  of  January  is  called  :  Cathedra  S. 
Petri,  qua  Roma  primum  sedit,  clearly  an  ancient  title 
preserved  though  no  meaning  was  attached  to  it.  It 
becomes  clear,  therefore,  that  at  a  time  when  the 
cathedra  of  S.  Peter  on  the  Via  Nomentana  was  for- 
gotten, the  February  feast  was  supposed  to  refer  to 
Peter's  See  at  Antioch,  while  the  first  was  called  the 
chair  of  S.  Peter  at  Rome.  The  feast  of  the  18  January 
in  fact  referred  to  the  chair  in  the  catacomb  which  we 
see  was  called  Pons  b.  Petri,  ubi prius  sedit  scs.  Petrus,  "the 
Font  of  S.  Peter,  where  Peter  first  sat  ":  the  feast  of 
22  February  referred  to  the  chair  at  the  Vatican  ;  per- 
haps therefore  a  commemoration  of  Peter's  second 
visit  to  Rome,  where  Peter  sat  the  second  time  ?  The 
name  "  The  great  cemetery,"  would  then  be,  De 
Rossi  opined,  an  ancient  memorial  of  an  apostolic 
chair  in  that  place  ;  the  cemetery,  he  said,  could  not  be 
called  great  in  reference  to  its  size,  many  Roman 
cemeteries  being  larger. '•= 

Here  once  again,  the  teaching  of  the  catacombs  un- 
ravels for  us  questions  of  the  first  importance ;  and 
here  also,  as  we  are  to  see  further  on,  is  fresh  confir- 
mation of  the   credibility  of  much  which  is  merely 
ancient  tradition.         * 
The  calli-       A  singular  family  of  epitaphs  in  this  catacomb  had 
graphy       often  been  remarked  by  De   Rossi,  cut  in  letters  of 
?^J^.®         rare  beauty  and  of  classic  type,  and  readily  distin- 
cemetery    guished  among  the  thousands  of  Christian  inscriptions 
placed  in  museums.     Examples  of  these  can  be  seen 
in   the   Lateran    Museum  arranged  on  Pilaster  XX. 
Not  only  do  they  come  from  the  same  workshop,  but 
they  present  constantly  the  same  style,  the  same  sym- 

•  In  an  early  reference  to  the  feast  of  Agnes'  foster-sister  we 
read  :  In  ccemeierio  major e  natalis  S.  Emerentiane  "  The  Feast  of 
S.  Emerentiana  in  the  major  cemetery"  We  cannot  think  it  certain 
that  coemeterium  magiiiis  referred  to  the  celebrity  of  this  cata- 
comb, the  epithet  major  would  well  describe  the  Ostrian  cemetery 
as  distinguished  from  the  little  sepolcreto  of  the  martyr  close  by. 


THE  CATACOMBS  469 

holism,  the  same  words.  "  The  style  is  so  laconic 
and  classical,"  writes  De  Rossi,  "  that  if  their  origin 
from  the  Christian  tombs  of  this  cemetery  were  not 
certain,  we  should  have  hardly  known  whether  these 
epitaphs  were  pagan  or  Christian."  Sometimes  they 
consist  of  the  name,  or  the  surname,  alone  ;  the 
majority  add  the  names  of  those  who  place  the  inscrip- 
tion, with  the  d.dd\i\on  filio ,  filice ,  coniugi,  filio  dulcissimo, 
coniugi  dulcissimo,  parentibus  dulcissimis,  and  in  one  or 
two  cases  incompamhili.  Of  the  "  solemn  Christian 
epigraphical  formulary  "  there  is  here  no  trace  what- 
ever, except  once  in  the  old  acclamation  vivas  in  deo. 
All  this  led  De  Rossi  to  the  conclusion  that  they 
belong  to  the  very  earliest  Christian  period  :  "la  piu 
lontana  origine  del  Cristianesimo." 

The  greatest  number  of  epitaphs  bearing  the  classi- 
cal tria  nornina  for  the  men,  and  the  gentilitium  and 
cognomen  for  the  women,  come  from  this  cemetery  ; 
and  the  names  which  prevail  carry  us  back  to  the 
generation  of  Christians  who  lived  between  the  reigns 
of  Nero  and  the  Antonines:  the  Aurelii,  Claudii,  Ulpii, 
Flavii,  Julii,  JEYiV''  The  name  Claudius  which  pre- 
dominates in  the  Ostrian  cemetery,  is  that  of  the  gens 
to  which  Agnes  belonged  ;  and  its  occurrence  here 
may  possibly  have  helped  to  confound  the  two  ceme- 
teries. The  highly  archaic  epitaphs  discovered  in 
different  places  bearing  this  gentilitium  were  supposed 
by  Signor  Armellini  to  belong  to  the  freedmen  of 
Claudius ;  and  in  this  Ostrian  cemetery  the  name 
Claudius  is  found  on  tombs  which  expressly  refer  to 
converts  of  the  imperial  household  :  de  domo  Casaris. 
It  must  be  remembered  that  tradition  assigns  this 
cemetery,  where  "  Peter  baptized  "  to  the  time  of  the 
apostle's  visit  to  Rome  in  a.d.  47,  that  is  during  the 
reign  of  Claudius. 

We  are  here  in  fact  carried  back  to  apostolic  times, 
and  we  have  the  tradition  confirmed  which  gave  so 
remote  an  origin  to  this  catacomb.  De  Rossi  tells  us 
*  Roma  Sotterranea,  vol.  I. 


470       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

that  he  has  discovered  in  all  the  catacombs  to  which 
apostolic  origin  is  attributed  the  characters  which 
betoken  the  infancy  of  the  faith,  in  the  inscriptions, 
the  architecture,  the  art.  "  I  find  in  those  cemeteries  the 
sepulchres  of  many  contemporaries  of  the  Flavii  and 
of  Trajan,  and  in  consequence  the  certain  date  of  the 
apostolic  age."  ("  La  data  certa  dell'  eta  aposto- 
lica.") 

The  Ostrian  cemetery  is  excavated  in  2  galleries, 
and  is  approached  by  a  staircase  probably  of  the  age 
of  Constantine.  This  cemetery  is  the  richest  of  all  in 
the  variety  of  its  symbolism  ;  but  many  of  the  loculi 
have  been  completely  rifled.  In  all  other  cemeteries 
the  architecture  of  the  crypts  is  wholly  without  decora- 
tion ;  but  in  this  cemetery  it  presents  a  remarkable 
feature.  A  series  of  crypts  contain  sedice,  or  arm-chairs, 
cut  in  the  rock,  all  of  one  pattern  ;  and  it  is  supposed 
that  this  cannot  be  a  mere  hizarrerie  of  the  exca- 
vators, but  refers  to  the  chair  here  venerated.  In  one 
chamber  such  a  sedia  is  placed  at  either  side  of  the 
entrance.  This  is  thought  to  have  been  a  crypt  for 
the  instruction  of  women  catechumens,  the  seats  being 
for  the  deaconesses.  There  appears,  however,  to  be 
an  example  of  a  similar  use  of  an  emblem  to  per- 
petuate an  historical  memory,  in  the  catacomb  of  Prae- 
textatus,  which  was  the  site  of  the  martyrdom  of 
Sixtus  II.  while  he  was  seated  in  cathedra :  inscriptions 
in  this  catacomb  are  decorated  with  a  sculpted  episcopal 
chair. 
The  crypt  Bosio  who  did  not  identify  the  catacomb,  described 
of  S.  a  tribune-like  niche  and  some  nearly  obliterated  red 

Emeren-  lettering  of  beautiful  form,  and  De  Rossi  thought  the 
ofThe^"  description  read  like  that  of  the  crypt  venerated  for  the 
Cathedra.  "  chair  in  which  Peter  first  sat,"  the  feast  of  which 
was  kept  on  January  18.  Padre  Marchi  bestowed  his 
chief  labours  on  this  cemetery,  then  known  as  "  of 
S.  Agnese,"  but  the  portions  explored  presented 
nothing  more  ancient  than  the  in.  century.  Monsignor 
Crostarosa  carried  on  the  excavation  at  his  expense. 


THE  CATACOMBS  471 

and  the  result  was  the  discovery  of  a  crypt  in  which 
there  stands  a  chair  against  the  tufa  wall,  and  opposite 
to  it  in  a  niche  is  one  of  the  columns  which  supported 
lamps  of  perfumed  oils.  An  inscription  in  the  little 
tribune,  in  which  the  original  stucco  decorations  seen 
by  Bosio  are  still  faintly  discernible,  was  deciphered 
by  Armellini,  and  read  both  by  him  and  De  Rossi :  it 
was  in  faded  red,  and  ran  as  follows :  sang  •  pet  .  .  . 
and  then  c  emer  ianti.  This  inscription  which  of 
late  years  has  become  illegible,  alluded  therefore  to 
S.  Peter  and  to  S.  Emerentiana.  The  first  legible 
letters  are  amas  and  probably  stand  for  Damasus,  who 
would  without  doubt  have  placed  an  inscription  at 
this  place.  Had  it  been,  as  usual,  engraved  and  not 
painted,  we  should  not  have  had  to  deplore  the  scanti- 
ness of  the  legible  letters.  This  crypt  lies  at  the  end 
of  a  short  gallery  at  right  angles  to  the  present  entrance 
gallery.  It  is  irregular  in  shape,  and  additions  have 
been  made  to  it.  A  central  luminare  lights  it.  Still 
nearer  the  entrance,  and  leading  from  the  same  short 
cumiculum,  is  a  little  underground  basilica  discovered  Under- 
by  P.  Marchi.  It  is  45  feet  long,  and  the  gallery  ground 
divides  it  into  2  parts  ;  it  is  excavated  to  the  height  of  ^^silica. 
2  floors,  a  himinare  falling  immediately  over  the  gallery.  ^ 

The  entrance  to  the  right  of  the  gallery  (entering  from 
the  crypt  of  the  cathedra)  shows  us  an  oblong  crypt, 
divided  into  3  portions,  the  crypt  on  the  right  being 
divided  into  2.  At  the  extreme  end  of  the  right  hand 
crypt  is  the  episcopal  chair  hewn  in  the  rock,  a  low 
bench  running  along  the  wall  on  both  sides,  forming 
the  sedilia  of  the  assistants.  Two  semi-detached  tufa 
columns  mark  the  division  of  this  portion  from  the  other 
2.  A  cornice  runs  along  the  outer  portions,  forming  a 
shelf  for  lamps ;  in  the  walls  are  cut  arcosolia  and 
loculi.  Between  the  second  and  third  portions  is  a 
space  terminating  in  a  circular  niche  to  the  right  and 
a  rectangular  niche  to  the  left,  presumably  for  the 
sacred  vessels  etc.  The  2  divisions  on  the  left  are 
similarly  separated  by  2  semi-detached  columns :  still 


472       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

nearer  the  entry  and  adjoining  the  basilica  is  another 
chamber,  divided  in  two  by  the  gallery. 

The  date  of  this  work,  which  was  carried  out  at  one 
time  and  on  one  plan,  unlike  the  other  crypts  of  this 
catacomb,  is  the  beginning  of  the  iv.  century.  The 
grounds  for  this  are  two  :  after  the  Peace  a  subter- 
ranean basilica  would  not  have  been  constructed,  since 
it  was  easy  to  build  churches  above  ground  ;  on  the 
other  hand  the  architectural  developments  to  be 
found  here  forbid  our  assigning  it  to  an  earlier 
period. 

In  the  appended  plan,  the  Presbyterium  A,  was  of 
course   destined   for  the  celebrating   bishop  and  his 


assistants.  It  is  understandable  that  the  space  on 
either  side  of  the  gallery  may  have  been  required,  but 
the  subdivisions  need  explanation.  The  portions  B, 
and  C,  may  have  divided  the  men  and  women  ;  and 
the  2  portions  D,  E,  on  the  other  side  probably  served 
for  the  class  of  catechumens,  the  catechumenate  dating 
from  the  in.  century,  and  for  the  Penitents,  the  peni- 
tential system  of  the  Church  being  fully  regulated  in 
Rome  early  in  the  same  century. 

This  part  of  the  catacomb,  which  is  very  irregular. 


THE  CATACOMBS  473 

dates   its   development   probably   from    the    time   of 
Damasus  (366). 

The  level  of  the  crypt  of  the  cathedra  and  of  the 
adjacent  galleries  has  been  now  shown  to  be  the  primi- 
tive level,  so  that  this  is  the  nucleus  of  the  cemetery, 
as  the  crypts  of  Lucina  are  in  the  Callistan  catacomb, 
and  both  carry  us  back  to  the  apostolic  era.  An  arco-  An  Arco- 
solium  in  this  portion  represents  our  Lord  young  and  solium, 
unbearded,  between  Peter  and  Paul.  The  nimbus 
dates  the  fresco,  for  it  does  not  begin  to  be  an  accom- 
paniment of  Saints  till  the  iv.  century. 

There  are  no  paintings  in  the  "  basilica,"  or  in  the 
crypt  of  the  cathedra,  the  damp  nature  of  the  rock  for- 
bidding it.     But  during  the  first  excavations  in  the  Good 
latter  crypt,  was  found  the  fragment  of  a  statue  of  the  Shepherd. 
Good  Shepherd.     In  the  same  crypt  a  Good  Shepherd 
between  2  palm  trees  is  sculptured  in  the  tufa.     In  the 
III.  century  S.  Emerentiana  was   interred   here,  and  S.  Emer- 
further  embellishment  and  extension   of  this   region  entiana. 
must  be  expected  between  the  years  258  and  384,  due 
to  this  second  great  memory  ;  the  tomb  of  the  martyr 
becoming  the  centre  of  a  hypogeum.     Damasus  would 
certainly  have  re-decorated  the  crypt  (366-384). 

In  the  second  parallel  gallery  are  represented  :  the  Paintings 
change  of  water  into  wine  ;  the  multiplication  of  the  ^"  ^^^^ 
loaves ;  and  the  following  interesting  group :  in  the  ^^^^^°'"°- 
centre  an  orante  represents  the  deceased  soul  received 
to  the  heavenly  banquet,  which  is  symbolised  by  the 
5  prudent  virgins  :  on  her  right  the  5  go  forth  to  meet 
the  Bridegroom  with  torches ;  on  the  left  4  are  already 
seated  at  the  feast,  the  fifth  is  the  orante  herself. 
Traces  of  an  inscription  are  to  be  seen  round  her  head, 
which  Monsignor  Wilpert  has  deciphered  as  :  Victoria 
Virgini  pete  ...  In  another  cubiculum  Christ  is  repre- 
sented with  6  apostles  over  the  arcosolium :  on  the 
roof  Jonah  under  the  gourd,  Moses  striking  the  rock, 
Adam  and  Eve,  a  female  orante,  and  in  the  centre  the 
Pastor  Bonus  in  the  midst  of  flowers  and  fruit.  In 
this  chamber  is  a  small  table.     Another  cubiculum  is 


474       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

ornamented  with  stucco,  with  paintings  of  Moses  re- 
moving his  shoes,  and  striking  the  rock  ;  over  an  arco- 
soHum  the  Good  Shepherd,  with  Daniel  among  the 
Hons  on  one  side,  and  the  3  children  in  the  furnace  on 
the  other. 

On  the  same  floor  nearer  the  entrance,  is  a  square 
crypt  approached  by  steps  and  a  vestibule — an  orante 
with  a  boy  standing  before  her  is  represented  on  an 
arcosolium,  the  monogram  of  Constantine  on  either 
side.  This  has  been  called  the  crypt  of  the  Blessed 
Virgin,  from  a  conjecture  that  she  is  here  represented 
with  her  Son,  Not  far  from  here,  is  a  chamber  with  a 
spring  running  through  it,  and  hence  called  a  bap- 
tistery. There  are  rude  columns  in  its  4  corners,  and 
a  deep  niche  ;  the  paintings  are  invisible  owing  to  the 
deposits  of  stalactite. 

The  Sym-       The  symbols  found  in  the  most  ancient  part  of  the 

holism.  catacomb,  support  the  theory  of  its  great  antiquity  : 
the  symbols  themselves  are  rare,  and  it  is  the  anchor 
which  prevails ;  the  gamma  cross,  and  the  ship  occur 
also ;  seals  are  frequently  met  with,  one,  bearing  the 
single   word    spes,  occurs   at   least    12   times.      The 

Nomen-      nomenclature  as  we  have  seen  tells  the  same  story  ; 

clature.  besides  the  ancient  cognomina  already  mentioned,  we 
find  the  names  Ignatia,  Ignatius,  which  are  rare  in  the 
catacombs  ;  Sirica,  which  is  more  common,  but  which 
in  the  iv.  century  was  written  Siricia.  The  name  of 
the  gens  Julia,  also,  which  in  the  in.  and  iv.  centuries 
is  rare,  is  frequently  found  earlier.  The  following 
inscription  takes  us  to  the  age  of  the  Antonines  : 


A  URel,IA  .  JUSTINA  ET 
JULIANUS. 


A  second  bears  the  anchor  and  Jish  symbols,  and  is  as 
follows:  Dionysodora  . filie  .  dulcissmci  .  Victoria  .  mater 
.  Faustinus  .  Pater  .  Nicf  .  Soror  .  Victor  .  jrater.  To 
Dionysodora,    most    dear    daughter.       Victoria    her 


THE  CATACOMBS  475 

mother;  Faustinus  her  father;  Nicefora  her  sister; 
Victorinus  her  brother.  This  is  now  in  the  Lateran 
Museum  (Table  XX.).  A  fourth  beautiful  inscription 
is  :  Leontius  anima  dulcis  i.p.c.  (in  pace).  In  this  cata- 
comb VNM  stands  for  benevierenti,  as  bnm  was  the  Pagan 
abbreviation. 

All  the  cubicula,  which  are  supposed  to  have  served 
for  the  instruction  of  catechumens  or  for  worship,  are 
double,  that  is  they  face  one  another  on  either  side  of 
the  gallery.  The  cemetery  itself  is  connected  Avith  an 
extensive  arenarium,  towards  the  west,  where  now 
stands  the  Basilica  of  S.  Agnes.  A  deep  shaft  and 
stairs  lead  from  these  pozzolana  pits  to  the  galleries. 

A  church  above  ground,  built  over  her  crypt,  was  Basilica  of 
dedicated  to  S.  Emerentiana  after  the  Peace.     A  few  S.  Emer- 
ruins  in  the  vigna  near  the  entrance  to  the  catacomb,  ^ntiana. 
still  indicate  the  site.      From  the  Salzburg  Itinerary 
we  learn  that  it  was  in  its  pristine  condition  in  the 
VII.  century. 

In  the  reign  of  Claudius  a  family  named  Ostrianum  The  Gens 
or  Ostorianum  flourished,  an  Ostorius  being  at  that  time  Ostoria. 
Governor  of  Britain.     This  family  possessed  land  on 
the  Nomentana.     The  catacomb  therefore  may  have 
been  in  origin  the  domestic  cemetery  of  the  Ostorii. 
Here  then,  perhaps,  S.  Peter  moved  from  the  house  of 
Priscilla  and  Aquila  on  the  Aventine,  and  stayed  till  he 
was  obliged  to  leave  by  the  Edict  of  Claudius  (circa 
A.D.  49''')  ;  and  the  catacomb  may  have  been  extended 
in  memory  of  the  apostle.     We  know  too  that   the 
Jews  had  a  quarter  by  the  Porta  Capena,  being  very  Jewish 
numerous   in   the   time  of  Claudius,  and   a  Hebrew  Quarter, 
cemetery   has   been   found   opposite   the    Basilica   of 
S.    Agnes.      There    were     also    tumults,    of    which 
Suetonius  speaks,  between  the  Jews  and  Christians  on 
account  of  a  certain  "  Chrestus.'"     Thus  Peter  would 
with  great  probability  have  carried  on  his  apostolic 

•  Aquila  and  Prisca  left  Rome  as  we  know  from  Acts  xviii.  2  ; 
and  were  again  in  Rome  ad.  38,  the  date  of  Paul's  Letter  to  the 
Romans. 


476       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

work  at  this  spot,  the  Nomentana  being  full  of  early 
Christian  memories.''' 
S.  Emer-  Emerentiana  was  the  foster-sister  of  S.  Agnes,  she 
entiana.  was  a  catechumen,  and  was  martyred  while  praying  at 
Agnes's  tomb  just  after  her  interment.  Her  feast  is 
kept  on  January  23,  and  her  body  now  rests  at  the 
Basilica  near ;  the  head  being  preserved  at  S.  Pietro 
in  Vincoli. 

Salaria  catacomb  of  ermete,  via  salaria  vetus. 

Catacomb      This  cemetery  which  is  on  the  left  of  the  road  out- 
of  Ermete.  side   Porta   Pinciana,   and   entered   through   a  vigna 
possessed    by   the   Austro-Hungarian    College,   dates 
from  the  11.  century.      The  Salzbvirg  Itinerary  tells 
us  that  the  ancient  entrance  was  by  the  Basilica  of 
Basilla  or  Basilissa  Virgin  and  Martyr ;  and  its  name 
before  the  Peace  was  ccemeterium  Basilic.     The  remark- 
able  feature   in   its   construction   is   that   an  ancient 
arenarium  or  sandpit  has  evidently  been  adapted  to 
form  a  portion  of  the  first  floor ;  and  the  walls  are 
constructed  of  masonry.     To-day  there  are  2  entrances, 
Church  of  one  leading  straight  to  the  crypt  of  Hermetis ;  the 
Hermetis.  other  to  the  gallery  leading  to  the  cubiculum  of  the 
martyr   Hyacinth.      The    former   is    a   subterranean 
church   retaining   the   masonry   of   the   apse  and   its 
general  form  of  the  time  of  Hadrian.     The  level  is 
that  of  the  3rd  floor  of  the  catacomb,  and  its  height 
extends  to  the  level  of  the  soil.     Clement  XHI.  in  the 
XVIII.  century  tried  to  restore  the  cemetery  and  con- 
structed the  arches  we  now  see.     Passing  out  from  a 
low   doorway   at   the  apse  end,  we  traverse  various 
Crypt  of    cimicoli,  arriving  finally  at  the  cubiculum  of  S.  Hyacinth. 
S.  Hya-      This  is  ruinous,  it  having  been  found  necessary  to  dis- 
cmth.         |.yj.jj  ^jjg  level  raised  by  Damasus,  in  order  to  open  it. 
Here  was  found  the  Damasine  inscription  which  has 
been  placed  at  the  end  of  the  adjacent  gallery.     The 
discovery  of  these  fragments  by  Padre  March i,  deter- 

*  Vide  catacomb  of  S.  Nicomedes,  and  of  S.  Agnes,  ante. 


THE  CATACOMBS  477 

mined   the   site   of    Hyacinth's   tomb.     It   had   been 
always  believed  that  this  martyr's  body  was  removed 
with  that  of  S.  Protus  :  both  were  venerated  at  the 
church   of   S.    Giovanni   dei    Fiorentini,   and  another 
church  also  claimed  to  possess  the  body  of  S.  Hyacinth. 
The  remains  were  found  charved,  thus  indicating  that 
these  martyrs,  who  suffered  together,  were  burnt ;  cere- 
cloth and  threads  of  a  gold  costume  were  found  with 
the  body.     In  the  adjacent  gallery  is  also,  fixed  to  a  A  Sculp- 
wall  on  the  right  hand,  a  very  beautiful  Good  Shepherd  tured 
in  high  relief,  a  sheep  across  his  shoulders,  and  2  at  ch°\    a 
his  feet.     Underneath  in  Greek  are  the  words  TOAAIA      ^^ 
ASKAHniAKH.     Tullia  Asklepiake.- 

There  are  some  very  interesting  inscriptions  in  this  Inscrip- 
catacomb.     Excavations  are  proceeding  at  the  present  ^^°"^- 
moment  (1896) ;  and  other  discoveries  may  be  expected. 
De  Rossi  places  the  following  in  the  reign  of  one  of 
the  Antonines : 

AURELIUS  PRIMUS 
'AUGLIB.  TABUL. 
XVIII.  KAL      ET  COCCEIA  •  ATHENAIS 
SEPT.  FILIAE  FECERUNT. 

AURELIAE  PROCOPENI. 

QUE  BIXIT  •  ANN  •  XIII  •  MESIBUS  III. 

DIEBUS  ■  XIIII  •  PAX  TECU. 

Aurelius  Primus,  freedman  of  the  Emperor,  Notary,  and  Cocceia 

Athenais  made  this  for  their  daughter  Aureha  Procope, 

who  hved  13  years,  etc.     Peace  be  with  thee. 

In  1846  the  intact  stone  of  a  loculus  being  removed, 
a  skeleton  Avas  found.  The  inscription  on  this  grave 
was  to  Rnfimis  Lector,  and  the  date  402  a.d.     Another 

•  Asclepias  is  a  name  found  also  in  the  catacomb  of  Petrus 
and  Marcellinus.  A  Matrona  Asclepia  buried  the  martyrs  during 
the  Diocletian  persecution  in  Dalmatia  ;  and  in  382  we  read  of  a 
coemeterium  legis  Christianae  in  praedio  Asclepiae  :  a  Christian 
cemetery  on  Asclepia's  property.  In  the  narthex  of  a  small 
basilica  built  by  her  in  Salona  after  the  persecutions,  a  sarco- 
phagus, supposed  to  contain  her  body,  was  found,  with  a  relief  of 
the  Good  Shepherd  in  the  centre,  very  similar  to  the  Roman 
Asklepia's,  which  also  came  from  above  ground,  and  is  of  the  iv. 
century. 


478       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

inscription,  in  Greek,  anterior  to  the  iv,  century  is  : 
Prottcs  in  the  Holy  Spirit  of  God  [EN  Ariw  HXeYMATI 
6E0YJ  lies  here.  Firmilla  his  sister  (places  this)  in 
memory  of  him.  The  consular  date  on  another  fixes 
it  at  A.D.  264  :  Ti.  Cl.  Marcianus  et  Cornelia  Hilaritas 
Cornelia  PaulcB  Par.  Fecr.  qiict  vix  ami  X.,  etc.  That 
is :  Titus  Claudius  and  Cornelia  Hilaria  to  Cornelia 
Paula.  Her  parents  made  it.  She  lived  10  years. 
One  inscription  bears  the  name  Petrus,  and  a  little  boat 
and  fishing  tackle  adorn  the  loculus  stone.  An  inscrip- 
tion to  a  wife  says  : 

Cum  qua  vixi  annis  X  bene 
se  ne  ulla  querela  IXGTs. 
With  whom  I  Hved  10  years  well,  without  any  dispute.    Icthus. 

Three  fragments  of  a  long  inscription  to  a  wife  were 
found  in  which  the  words  '*  sacra  Dei  percipientes  " 
occur.  The  word  perceptio  had  always  a  hidden  allusion 
to  the  sacraments,  was  indeed  the  secret  formula  adopted 
during  the  prevalence  of  the  Disciplina  arcani.  The 
words,  still  to  be  found  in  all  our  liturgies,  accipere, 
percipere,  consequi,  consecutio,  meant,  and  mean,  the 
participation  of  the  sacraments. 

In  the  Lateran  Museum  is  an  inscription  from  this 
cemetery,  referring  to  the  protection  of  the  martyr 
Basilissa :  Domina  Bassilla  Commandamus :  "  Saint 
Bassilla  we  Crescentius  and  Micina  commend  to  thee 
our  daughter  Crescentia."  A  mother  ends  an  inscrip- 
tion to  her  son  Aurelius  Gemellus  with  the  words:  "/« 
pace.  Commando  Bassilla  innocentia  Gemelli.'"  "In  peace. 
I  commend  to  thee  Bassilla  the  innocence  of  Gemellus." 

The  Sym-      The  symbols  which  prevail,  are  the  fish,  the  anchor, 

bols.  and  the  bird  with  the  corona  shaped  bread.      Here 

also  was  found  the  sick-bed  scene  at  which  it  is  sup- 
posed 2  deaconesses  are  assisting,  given  in  d'Agin- 
court,  tavola  xii.  16. 

The  Mar-       Basilissd's   story  is   to   be   found  in  the  acts  of  S. 

tyrs.  Eugenia.     Her  martyrdom  is  there  attributed  to  the 

persecution  of  Valerian  and  Gallienus,  her  husband 


THE  CATACOMBS  479 

having  denounced  her  as  a  Christian.     In  the  martyr-  Basilla. 
ologies  her  feast  day  is  May  20.     Pascal  removed  her 
body  to  S.  Prassede. 

Ermete  is  said  to  have  been  Prefect  of  the  city  under  Hermetis. 
Trajan,  and  to  have  suffered  under  Hadrian.     He  is 
said  to  have  been  baptized  by  Pope  Alexander  (circa 
109-120),  with  his  family  and  slaves  in  number  1200. 
In  the  VI.  century  a  lamp  still  burnt  before  his  tomb; 
a  phial  of  oil  taken  from  a  cemetery  on  the  Via  Salaria 
Vetus,  sent  to  Theodolinda  by  Gregory  the  Great,  is 
inscribed  Scs.  Hermis.    The  origin  of  the  cemetery  was  Theodora, 
therefore  in  all  probability  his  burial  here,  in  her  own  founder. 
ground,  by  his  sister  Theodora.     Gregory  IV.  removed 
his  body  to  S.  Marco. 

The  2  martyrs  burnt  alive,  as  we  have  seen,  in  the  Protus 
Valerian  persecution,  the  date  assigned  for  Basilissa's  and  Hya- 
martyrdom  also,  were  the  servants  of  Eugenia,  and  *^^"    ' 
by  her  given  to  Basilissa  ;  and  their  acts  are  contained 
in  the  Passio  S.  Eugenia.     Damasus  moved  the  body 
of  Protus,  which  is  now  at  S.  Giovanni  of  the  Floren- 
tines.    He  must  have  ornamented  the  cubiculum  of 
Hyacinth,  whose  tomb  was  discovered  in  1845,  and 
the   remains  removed  to  the  Propaganda  Fide.       In 
Italian  these  2  martyrs  are  called  Proto  e  Giacinto. 

Thus  this  cemetery  which  had  its  rise  in  the  reign  Date, 
of  Hadrian  (117),  was  further  extended  in  the  reign  of 
Valerian  and  Gallienus,  when  the  other  martyrs  were 
here  interred  (253-261). 

CATACOMB    OF    PAMPHILUS,  SALARIA    VETUS. 

This   was   discovered   in    1594   by  Bosio ;  a  small  Catacomb 
region  was  rediscovered  in  1863  by  De  Rossi.     It  lies  of  Pam- 
at   the    bifurcation    of    the   roads  Leoncino    and    Tre  P"""^- 
Madonne.     The  Pamphilus  who  gives  his  name  to  the 
catacomb  is  unknown. 

CATACOMB    OF    LIBERALE,    SALARIA   VETUS. 

This  cemetery  lies  towards  the  Tiber  in  the  prati 
d'acqua  acetosa.     Neither  Bosio  nor  his  successors  ever 


48o       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

penetrated  it ;  and  it  lies  to-day  entirely  inaccessible 
and  hidden.  It  takes  its  name  from  Liberalis  the 
Consul.  Many  Christian  soldiers  martyred  in  the 
persecutions  of  Claud  the  Goth  and  Julian  were  buried 
here ;  among  them  the  soldier  Maximus,  and  the 
Diogenes  whose  memory,  as  we  learn  from  the  itineraries, 
was  so  much  venerated. 

Salaria  catacomb  of  s.  felicita,  salaria  nova. 

Catacomb  ^^  Rossi  has  shown  that  this  is  the  catacomb 
of  S.  Feli-  known  in  the  first  ages  as  ccemeterium  Maximi  ad  S. 
cita.  Felicitatem.     It  is  unfortunately  partly  ruinous  from 

recent  works  over  its  area.     The  founder  Maximus  is 
totally  unknown  to  us.     Here  was  buried  S.  Felicitas, 
in   A.D.    162,    with   her    fourth    son    Silvanus.      The 
cemetery  lay  hidden  until  1884,  when  in  digging  the 
foundations  of  a  new  building  the  wall  of  a  basilica 
was  discovered. 
Crypt  of        The   crypt   of  the  martyr,  in  the  upper  of  the  2 
S.  Feli-      principal   tiers,  was  early   transformed   into   a   small 
^^^^-  basilica.     Here  is  a  bust  of  Christ  with  the  cruciform 

nimbus ;  his  right  hand  is  raised.  Beneath  him  were 
8  saints  all  wearing  the  nimbus.  In  the  centre  there 
remain  the  traces  of  a  large  female  figure,  with  3 
youths  on  one  side,  and  4  on  the  other.  Portions  of 
the  names  are  legible,  and  they  are  the  names  of  4 
of  Felicitas'  children.  On  her  right  is  Silvanus. 
The  fresco  is  of  the  vii.  century.  Damasus  restored 
the  crypt  and  placed  in  it  a  short  carmen.  An  inscrip- 
tion found  in  1856  by  De  Rossi  belonged  to  this 
cemetery,  and  shows  that  2  people  had  bought  a 
loculus  hisomtis  "  ad  Sanctam  Felicitatem,"  that  is  near 
her  crypt  or  tomb.  An  inscription  of  Cojistantia  que  et 
Bonifatia,'^  who  places  a  record  "  ad  sanctorum  locum," 
pro  meritis,  that  is  in  gratitude  for  some  event,  belongs 
here  also. 
Basilicas.  Over  the  cemetery  were  two  basilicas,  one  dedicated 
to  Felicitas  by  Pope  Boniface  (418-423),  the  other  to 
•  Perhaps  the  sister  of  Pope  Boniface  ;  the  date  is  a.d.  390. 


THE  CATACOMBS  481 

that  pope  himself  of  \vhom  it  is  recorded  that  he 
"  lived  in  the  cemetery  of  Felicitas,"  i.e.,  in  the  group 
of  buildings  at  her  cemetery.  It  is  here  that  Gregory 
the  Great  read  his  Homily  on  Matt.  xii. 

No   less   than  4  catacombs  preserve  memories   of  Sancta 
these  8  martyrs,   and   Felicitas   is   a  great  name   in  ^^l^*?!*^ 
Roman  martyrology.     The  events  are  placed  in  Rome  seven  "^ 
in  A.D.   162.      Januarius  and  Silvanus   each    suffered  gons. 
alone,    Felix    and    Philip    together,    and    Alexander, 
Vitalis  and  Martial  together.     Felicitas  having  seen 
her  seven  sons  martyred,  suffered  last." 

The  days  which  honour  their  memory  are  July  10 
and  November  23.  A  in.  century  epigraph  in  the 
Lateran  Museum  calls  the  vi.  idiis  IVL.  absolutely 
Dies  marturorum,  "  day  of  the  martyrs."  In  the  oldest 
liturgical  books  this  day  (July  10)  is  named  as  the 
feast  day  of  the  7  sons.  The  inscription  quoted  shows 
us  therefore  that  in  the  in.  century  in  Rome  that  day 
was  called  par  excellence  "  the  day  of  the  martyrs." 

The  body  of  Silvanus  stolen  by  the  Novatians  (252) 
had  been  restored  by  the  time  of  Innocent  I.  (402). 
The  body  of  Felicitas  was  translated  to  the  church  of 
S.  Susanna  by  Leo  III.,  the  mosaic  inscription  he 
placed  there  bearing  portraits  of  himself  and  Charle- 
magne.! 

CEMETERY    OF    THRASUS   AND    SATURNINUS,  SALARIA 
NOVA. 

This  cemetery  lies  beyond  S.  Felicitas,  one  mile  Cemeteys 
from  the  walls.  Before  the  Peace  it  was  called  ofThrarus 
Coemeterium  Thrasonis,  and  after  Thrasonis  ad  S.  n"nus  ^"'^" 
Saturninum. 

Between  1720-1740  excavations  were  made  here, 
and  galleries  rich  with  paintings  and  inscriptions  in 
situ  came  to  light.  Martyrs  of  the  second  half  of  the 
in.  century  were  buried  here:  2  glass  phials  for  re- 

*  The  story  of  Felicitas  and  her  sons  has  been  disputed  by 
Lightfoot  in  1885,  and  by  Dr.  Fiihrer  in  1890. 
t  See  the  church  of  S.  Susanna. 

31 


Inscrip- 
tions. 


Thrasus. 


Saturni- 
nus. 


482        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

ceiving  the  blood  of  the  martyrs  have  been  found  with 
the  blood  still  liquid  in  them. 

Some  very  interesting  inscriptions  come  from  this 
cemetery  ;  the  Latin  epitaph  in  Greek  letters  to  the 
child  Severa,  aged  4  years,  now  in  the  gallery  of  sarco- 
phagi in  the  Lateran  museum,  was  found  here ;  and  was 
the  subject  of  a  book  by  P.  Lupi,  S.J.    Another  runs: 

Sozon.  Benedictus  ndidit.  an.  nohe  Berus  'h^  ispirum  in 

pace  .  et  .pet . pro  nobis.  A  gemmed  cross  is  represented 
on  the  tablet.  This  curious  inscription  which  records 
that  the  deceased  gave  up  his  spirit  in  peace  to  the 
venis  Christus,  and  "  prays  for  us,"  is  interpreted  by 
De  Rossi  to  be  an  allusion  to  the  sect  of  Marcian 
which  denied  the  physical  existence  of  Christ.  S.  John 
refers  to  the  same  doctrine  in  i  Ep.  John  iv.  3,  and  in 
this  phraseology  "  he  that  does  not  confess  Jesus  " 
means  he  that  does  not  confess  the  human  reality  of 
Christ.  So  this  Epistle  begins  with  :  "  that  which  we 
beheld  with  our  eyes,  and  our  hands  handled."  (Com- 
pare also  Tertullian  De  Carne  Christi.)" 

Thrasus  is  mentioned  in  the  acts  of  S.  Susanna  and 
of  S.  Marcellus,  as  assisting  the  Christians  who  were 
condemned  to  work  on  the  balnea  or  great  Roman 
Baths.  He  was  martyred  in  the  reign  of  Maximinianus, 
the  martyrologies  marking  December  11  as  the  day. 
He  was  vir  potens  et  facultatibus  lociiples,  powerful  and 
rich.  The  field  where  this  catacomb  was  excavated 
was  his,  and  here  he  buried  S.  Saturninus.  The 
presbyter  Johannes  assisted  Thrasus  in  this  pious 
task. 

Saturninus,  buried  here,  on  November  29,  was  a 
deacon,  martyred  with  the  deacon  Sisinnius  in  a.d.  302. 

*  Docetism  was  one  of  the  earliest  aspects  of  Christian 
theology  ;  on  its  most  obvious  side  it  neglected  the  theology  of 
the  passion,  and  never  represented  the  Cross  or  suffering  of 
Christ ;  on  its  metaphysical  side  it  began  to  deny  any  actual 
existence  to  Christ  as  man,  and  to  declare  His  humanity  to  have 
been  phantasmal,  and  His  death  unreal.  S.  John's  first  Epistle  is 
written  against  the  Docetes, 


THE  CATACOMBS  483 

His  body  was  moved  to  SS.  Giovanni  e  Paolo ;  Sisin- 
nius  resting  at  S.  Martino  ai  Monti. 

THE  ARENARIUM  JORDANORUM,  VIA  SALARIA  NOVA. 

This  was  one  of  the  most  celebrated  cemeteries  in  Aren- 
Rome,  and  none  perhaps  was  richer  in  martyrs'  tombs  arium  Jor- 
of  the  Valerian  and   Diocletian  persecutions,  and  in  "anorum. 
general  decoration.     This  important  catacomb  dates 
at  least  from  the  11,  century.     It  is  now  inaccessible. 
Here  lay  Chrysanthus  and  Daria,     It  is  much  to  be 
hoped  that  the  famous  crypt  where  they  were  buried, 
and  where  their  companion  martyrs  lay  just  as  they 
had  been  stoned  through  the  shafts  above — a  scene  so 
moving  that  Damasus  left  it  untouched — will  soon  be 
re-excavated. 

CATACOMB    OF    PRISCILLA,    VIA    SALARIA. 

This  and  the  cemetery  of  Callistus  are  the  two  arch 
cemeteries  of  Rome.  It  is  called  after  Priscilla  the 
mother  of  Pudens,  contemporaries  of  Peter.  Here 
was  buried  "  the  flower  of  the  Christianity  of  Rome 
which  had  heard  the  living  voice  of  the  apostles." 
Here  lay  Priscilla,  Pudentiana,  Praxedis,  Priscilla  and 
Aquila  the  fellow  helpers  of  Paul,  and  the  martyr 
Prisca.  Here  perhaps  was  buried  Justin  Martyr,  and 
a  number  of  unknown  martyrs  01  the  same  period. 
The  2  sons  of  S.  Felicita,  Felix  and  Philip,  the  Popes 
Marcellinus  and  Marcellus  in  the  time  of  Diocletian, 
and  after  the  Peace  the  Popes  Silvester,  Liberius, 
Siricius,  Celestinus,  and  Vigilius. 

After  its  abandonment,  the  memory  of  this  great 
catacomb  was  so  vivid  in  the  minds  of  men  that  it 
gave  its  name  to  all  the  cemeteries  on  the  Salaria, 
which  were  all  believed  to  be  regions  of  S.  Priscilla. 
it  lies  at  the  3rd  mile  at  the  beginning  of  the  descent 
to  the  river  Anio,  communicating  on  the  right  with 
the  cemetery  of  Novella  to  which  it  was  joined  in  the 
IV.  century. 

Prom  its  construction  the  catacomb  of  S.  Priscilla 

31—2 


484        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

was  probably  an  arenarium  converted  into  a  cemetery ; 
the  pilasters  and  walls  which  we  find  constructed  here 
may  perhaps  have  been  designed  to  support  the  many 
buildings  overhead.  They  have  helped  to  conceal  tlie 
loculi  hidden  behind  them,  which  have  thus  reached  us 
intact,  escaping  the  "  barbarians  ancient  and  modern" 
who  devastated  so  many  loculi  in  this  most  interesting 
cemetery. 

The  sepulchres  of  the  primordial  region  present 
characters  dissimilar  to  all  the  others,  and  form  a  Pris- 
cillian  family.  The  inscriptions  are  painted  in  red  on 
the  tiles,  or  are  deep  incisions  in  the  marble  filled  in 
with  the  same  colour.  They  are  usually  in  Greek, 
very  simple,  consisting  of  the  name,  or  the  name  fol- 
lowed by  the  salutation  Pax,  Pax  tecum.  Pax  tibi. 
The  most  frequent  symbol  is  the  anchor,  and  the  palm 
occurs  also  with  frequency.  The  names  are  those  of 
the  I.  and  11.  centuries  of  the  Empire.  Some  are  ac- 
The  name  companied  by  the  rare  |V|  (martyr).  The  name  Petrus 
"  Petrus."  which  is  most  rare  in  other  cemeteries,  abounds  here. 
De  Rossi  has  pointed  out  that  this  cognomen  did  not 
belong  to  Greco- Roman  nomenclature,  but  that  it 
came  into  use  with  the  diffusion  of  Christianity,  and 
with  the  I.  century  of  our  era,  as  is  asserted  by  Eusebius 
who  quotes  the  authority  of  Dionysius  Alexandrinus. 
An  inscription  in  the  oldest  part,  with  the  single  word 
IleT/jos  perhaps  records  a  disciple  of  S.  Peter's. 
Domus  If  we  ask  why  the  name  of  Petrus  should  be  found 

Pudentis.  specially  here,  the  reply  is  that  this  was  the  cemetery 
of  the  Domus  Pudentis,  the  house  of  that  Pudens  who 
received  Peter  when  he  came  to  Rome. 

Entering  by  a  door  which  opens  directly  on  the  pre- 
sent Via  Salaria — the  fields  which  stretch  along  at  the 
.  height  of  the  entrance  affording  no  sign  of  the  excava- 
tions beneath — we  come  into  a  wide  passage,  from 
which  we  can  proceed  either  way.  Turning  to  the 
left,  on  the  same  floor,  the  object  of  greatest  interest, 
forming  also  a  kind  of  point  de  depart,  for  we  can 
approach  it  from  galleries  on   both  its  sides,  is  the 


THE  CATACOMBS  48S 

Greek  chapel,  so  called  from  2  Greek  inscriptions  painted  Cappella 
in  one  of  its  apses.  This  crypt  which  is  one  of  the  Greca. 
most  beautiful  in  Roma  Sotterranea,  is  in  the  form  of 
a  little  church,  and  is  constructed  with  3  apses.  It  is 
entered  by  a  vestibule  :  on  the  right  and  left  wall  is 
the  story  of  Susanna  and  the  elders  (a)  the  elders  find 
Susanna  in  the  garden,  (b)  and  (c)  (on  the  left  wall) 
the  2  elders  placing  their  hands  on  Susanna's  head 
swear  against  her :  Daniel  rescues  Susanna.  Over 
the  door  is  Moses  striking  the  rock,  and  the  3  children 
in  the  fire.  On  the  roof  Noah  in  the  ark.  Over  the 
archway  between  the  vestibule  and  the  crypt,  is  a 
^-seated  Madonna,  with  the  Magi ;  the  fresco  is  faint  in 
colour  from  the  deposits  of  stalactite.  Entering  the 
apsidal  chamber,  the  apse  on  the  left  contains  the  2 
Greek  inscriptions  which  gave  the  crypt  its  name. 
They  are  painted  in  vermilion  on  the  plaister  of  the 
wall  to  the  right,  and  record  2  persons  0BP1M02 
nAAAAAIoi  and  0BPIM02  XE2T0PIANAE,  Ohrimus 
Palladia  and  Obrimus  Nestoriana.  (Obrimos  to  Palla- 
dius,  and  Obrimos  to  Nestoriana.) 

But  the  painting  of  deepest  interest  was  discovered  Eucharis- 
in  1894,  s-'^d  is  over  the  arch  of  the  central  apse,  where  ^'^  Scene, 
it  had  been  hidden  by  the  deposit  of  stalactite.  Seven 
figures  sit  at  a  table,  six  men  and  one  woman  :  before 
them  are  two  dishes,  on  one  of  which  is  a  large  fish, 
on  the  other  bread ;  there  is  a  small  two-handled  cup 
to  the  left  of  the  spectator.  On  the  ground  to  the  left 
are  four  baskets,  on  the  other  side  of  the  table  three  ; 
the  seven  basketsful  over  which  always  accompany  this 
subject.  The  scene  is  painted  on  a  red  ground,  and 
the  faces  are  very  delicate.  A  figure  at  the  left  side 
of  the  sigma- shaped  table  holds  forward  his  hands  in 
the  act  of  breaking  bread  before  his  breast ;  this  is  the 
solemn  liturgical  action  of  the  fractio  panis  {rj  kAcio-istou 
apTov  of  Acts  ii.  42)  repeated  by  the  apostles  after  the 
example  of  Christ,  and  mentioned  in  S.  Luke's  Gospel 
xxiv.  30,  in  several  places  in  the  Acts,  by  S.  Paul,  and 
also  in  the  Didache  one  of  the  earliest  of  all  Christian 


486        CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Other 
paintings 
in  the 
Cappella 
Greca. 


documents.  Compare  also  Mark  viii.  19,  the  words 
about  the  miraculous  multiplication.  It  is  the  only 
instance  of  this  liturgical  action  in  the  catacombs. 
The  scene  is  clearly  a  symbolic  representation  of  the 
mystery  of  the  Eucharist :  symbolic  because  of  the 
presence  of  the  7  baskets,  and  because  in  the  time  of 
Justin  in  whose  lifetime  this  was  painted,'''  the  Euchar- 
ist was  already  separated  from  the  agape.  Here  we 
have  an  agape  at  which  the  Eucharist  is  being  cele- 
brated. The  date  assigned  is  the  first  half  of  the  11. 
century. 

Other  paintings  in  this  chamber  were  at  the  same 
time  uncovered  from  their  coating  of  stalactite  by 
Monsignor  Wilpert  :  the  sacrifice  of  Abraham,  Daniel 
among  the  lions,  and  the  resurrection  of  Lazarus. 
Their  date  is  the  same.  From  this  discovery  of  early 
paintings  we  find  that  the  biblical  subjects  employed 
with  a  symbolic  meaning  were  adopted  long  before  the 
III.  century,  the  epoch  to  which  the  development  of 
Christian  symbolism  has  hitherto  been  generally  attri- 
buted. The  painting  of  Susanna  and  the  Elders  in 
the  vestibule,  which  must  have  been  executed  in  the 
course  of  the  11.  century,  shows  us  that  this  part  of  the 
book  of  Daniel  was  then  regarded  as  possessing  the 
same  sacred  character  as  the  rest. 

The  "  Greek  Chapel "  is  constructed  with  bricks 
and  mortar,  and  is  clearly  anterior  to  the  system  of 
excavations  in  the  tufa  which  surround  it.  There  are 
no  loculi,  but  the  3  deep  recesses,  or  apses,  were 
designed  for  3  sarcophagi,  fragments  of  which  have  been 
collected.  The  stucco  work  with  which  it  was  orna- 
mented is  of  the  style  of  tlje  best  classical  period. 
This  was  perhaps  the  crypt  of  Priscilla,  Pudens, 
Pudentiana,  and  Praxedis,  which  has  not  been  else- 
where found.  * 

Coming  from  the  Cappella  Greca, — to  the  right  is  a 
large  stairway  leading  to  the  lower  floor,  and  a  cripto- 

*  See  his  description  of  the  Eucharist  in  the  Letter  to  Anto- 
ninus Pius,  Apologia  I.  Ixv,  Ixvi. 


THE  CATACOMBS  487 

porticus.  The  latter  was  found  with  its  adjacent  crypts 
and  cubicula  in  1864  :  a  table  tomb  at  the  bottom  of 
it  with  the  consular  date  a.d.  349,  runs  thus  : 

Uranie-  Aur-  Domnae-  Morte 
Leontius  Neofitus-  Q.V.  AN.  xxxiii.  DP.  xv.  KAL. 
Octob.     Nichomacho-  Flabiano.  Conss. 
Leontius  Neofitus  {Neophyte)  for  the  body  of  Domna  Urania  Aurelia 
ivho  lived  33  years.     Deposited  xv.  Kalends  of  October  in  the 
Consulate  of  Nichomachus  Flavianns. 

From  which  we  gather  that  the  news  of  the  victory  of 
Theodosius  had  not  reached  Rome  on  September  17, 
or  the  rebel  consul's  name  would  not  have  been  in- 
serted/'' 

Passing  the  stairway  we  come  to  another  cubiculum  Cubicu- 
with  an  arcosolium,  in  the  centre  of  which  is  a  figure  him. 
of  grave  beauty :  an  orante,  clothed  in  a  striped  dal- 
matic, over  the  head  the  fringed  talith.  To  her  right 
is  a  group  of  singular  interest ;  a  bearded  figure  is 
seated,  and  facing  -)>,  where  a  young  woman  stands 
close  to  him,  facing  4^)  and  a  little  behind  her  on  her 
left,  assisting  her,  a  young  man,  also  facing  sj/.  In 
her  2  hands  she  holds  a  dark  folded  garment  which  she 
is  apparently  about  to  put  on. 

The  seated  figure  is  a  Bishop  ;  his  position  is  in- 
dicated by  his  being  disproportionately  large,  so  that 
sitting  he  is  as  high  as  a  standing  figure  :  the  woman  is 
a  virgin  or  deacon  :  the  youth  is  the  assistant  deacon. 
The  bishop  is  either  giving  her  the  veil,  or  ordaining 
her  to  the  diaconate  ;  and  we  know  that  in  this  cere- 
mony the  deacon  herself  put  on  the  veil.  To  the  left 
of  the  orante  is  the  Madonna  seated,  her  child  in  her 
arms.  This  charming  series  undoubtedly  marks  the 
tomb  of  some  woman  celebrated  from  her  position  in 
the  church.  On  the  left  wall,  entering,  is  represented 
Abram  and  the  fire  ;  Isaac  is  so  burdened  with  the 

*  The  lowest  level  of  all  presents  a  regularity  proving  it  to  be 
the  work  of  one  period  ;  and  De  Rossi  believes  it  to  be  the 
cemetery  made  by  Priscilla  Junior,  of  the  time  of  Diocletian  and 
Maxentins. 


lum 


488        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

pack  of  faggots  with  which  he  is  trudging  up  that  only 
his  face  is  visible.  On  the  right  wall  is  a  quaint 
representation  of  the  3  children,  standing  together  in 
tongues  of  brilliant  flame,  in  green  doublets  and  hose. 
Obviously  a  late  painting.  On  the  roof  are  large 
peacocks  and  birds  ;  also  a  Good  Shepherd  with  a  goat 
on  his  shoulder,  standing  between  2  trees  on  each  of 
which  is  a  large  bird,  and  a  sheep  and  a  goat  by  his 
side.  On  the  vaulted  roof  of  the  entry  Jonah  is  being 
vomited  by  a  dragon-like  whale. ''^'  Bosius  has  written 
his  name  on  the  arcosolium  scenes;  a  great  barbarism. 
Another  In  a  cubiculum  not  far  distant,  on  the  wall  facing 
cubicu-  the  door  is  one  of  the  rare  scenes  from  common  life  : 
7  men  are  intent  on  dragging  skins  of  wine,  and 
2  huge  barrels  stand  ready.  The  7  men  have  only 
12  legs  ;  the  painting  is  very  rude  indeed.  The  crypt 
may  have  belonged  to  a  wine  grower.  The  Good 
Shepherd  is  in  the  centre  of  the  vaulted  roof,  4  orantes 
are  rudely  depicted  in  its  four  corners,  and  in  the 
lunettes  are  Noah,  and  the  Jonah-cycle ;  across  the 
Jonah  picture  near  the  entrance  is  a  Hebrew  graffito 
m  black  letters,  being  the  name  of  God  Elohim. 
"Antonius  Bosius"  is  written  across  the  wine-carrying 
scene.  In  this  crypt  there  is  the  following  inscription: 
BONAViAE  coNiuGi  sANCTissiMAE.  To  Bonavia  most 
holy  wife. 

We  now  pass  along  galleries  shaped  in  this  way 

^^-— **«.  having  some  6  tiers  of  loculi  on  each  side, 

ry'"""^   many   of    which   are   intact.     In   a   hidden 

corner,  on  the  last  tier  by  the  floor,  is  the 

inscribed  marble  of  anntact  loculus 

CARMINEA  VICTORIA 

CARMINEO  LIBERALI 

ALUMNO. 

Victoria  Carminea  to  Liberalis  Carmineus,  alumnus. 

The  lettering  is  fine. 

*  See  the  chapter  on  catacomb  symbols,  p.  388  note. 


THE  CATACOMBS  489 

Many  inscriptions  here  are  rough  paintings  in  red 
on  brick  and  stone,  or  red  incisions. 

In  a  small  crypt  is  the  following  on  the  wall  facing 
the  entrance  ;  the  loculus  is  intact  : 

ONHCIMOC 
TITw    *AABIw 
ONHCI*OP«  •  TEKNw  • 
TATKTTATw  d   ZH 
de  TH   d   Z   C^ 

The  names  of  apostolic  savour  should  be  noticed : 
Onesimus  to  Titus  Flavius  Onesiphorus,  his  sweet 
child.  In  the  same  little  crypt  is  also  an  intact  Latin 
inscription. 

Just  outside  this  crypt  is  a  small  white  marble,  the 
fine  letters  incised  and  painted  red  : 

MArXw  * 

TIw  rATKTTATw 

To  Magnus,  most  sweet  son. 

Up  a  few  iron  stairs,  recently  placed  to  give  access.  Earliest 
we    approach    a    cubiculum,    where    over    a    highly  painting 
decorated  loculus  is  the  earliest  painting  of  Mary  which  gi^g^^ 
has  come  down  to  us : — She  is  on  a  raised  seat  with  virgin 
the  child  at  her  breast,  near  her  head  is  a  large  8-rayed  Mary, 
star ;  this  was  in  red  when  first  discovered,  but  is  now 
nearly  invisible  ;  it   can  however  at  present  be  very 
distinctly  traced  on  near  inspection.    Before  her  stands 
a  male  figure,  who  points  to  the  star.     This  may  be 
one  of  the  magi,  or  a  Prophet.     The  fresco  is  ruinous 
below  the  centre  of  the  figure.    This  deeply  interesting 
monument  was  covered  with  stalactite.     The  painting 
is  very  fine,  and  cannot  be  later  than  the  first  years  of 
the  II.  century,  and  is  more  probably  of  the  i.     Bosius 
observed  it,  but  failed  to  recognise  its  great  antiquity. 
He   has   written    his  name   in    another   part   of  this 
cubiculum.     The  loculus  is  also  decorated  with  stucco 
work,  now  in  a  state  of  ruin  :  it  represents  a  Good 
Shepherd,  and  a  large  sheep  near  him. 


490       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


The  oldest      The  inscriptions  in  this  region  belong  to  a  period 

inscrip-  anterior  to  the  Antonines.  Those  which  we  have 
already  alluded  to  as  preserved  in  their  shelter  behind 
the  masonry  walls,  where  the  loculi  are  intact,  are  the 
oldest  of  all  the  Christian  epitaphs :  here  are  inscrip- 
tions to  freedmen  of  the  imperial  household,  perhaps 
"those  of  Caesar's  Household"  recorded  by  Paul  in 
the  letter  written  from  Rome  to  the  Philippians.  The 
-excavations  received  a  great  extension  between  the 
years  1887-90  :  in  one  of  the  galleries  were  found  the 
large  recesses  for  sarcophagi,  and  3  arcosolia  originally 
decorated  with  mosaic.  One  of  these  had  represented 
a  Virgo  Sacra,  the  adoration  of  the  magi,  and  a  scene 
from  the  Passion.  This  had  been  seen  and  drawn  by 
Seroux  d'Agincourt  in  1780.  After  this  the  mosaics 
were  sacked,  and  what  now  remains  is  only  the  im- 
pression in  the  plaister.  Another  in  the  same  state 
shows  us  the  large  figure  of  a  woman,  amply  mantled, 
which  perhaps  represented  Priscilla  :  she  is  portrayed 
as  an  orante,  and  the  traces  of  4  smaller  figures  remain 
below  her,  which  would  have  represented  Pudens  and 
Claudia,  and  their  2  daughters ;  or  these  latter  with 

Graffiti.  Novatus  and  Timothy.  There  are  many  graffiti  in 
this  part  of  the  cemetery  ;  in  one  we  read  Limina 
Sanctorum,  the  threshold  or  abode  of  the  saints. 
Another  long  graffito  in  capitals  mentions :  Domnce 
Priscilla.  This  then  was  one  of  the  sanctuaries  fre- 
quented by  pilgrims  from  the  iv.  century. 

On  the  roof  of  a  cubiculum,  near  a  large  staircase 
which  descends  to  the  different  levels  recently  dis- 
covered, is  Peter  receiving  the  book  of  the  Gospels 
from  the  Redeemer  who  is  seated  on  a  globe.  After 
the  Peace  this  subject  is  found  with  the  inscription  : 
Dominus  legem  dat — the  Lord  gives  the  Law — as  a  new 

Orpheus.  Sinai.*  In  another  arcosolium  Orpheus  amongst  the 
animals  is  represented  ;  this  is  one  of  the  4  examples 

*  There  is  an  instance  of  this  subject  in  which  Christ  gives  a 
book  to  Valerius  Severus,  with  the  inscription  Dominus  legem  dat 
Valerio  Seven,  signifying  his  conversion. 


THE  CATACOMBS 


491 


of  the  subject.     In  the  same  cubiculum  are  the  follow-  Inscrip- 
ing  inscriptions :  ^'°'^^- 


PAX  TE 


VALERIA 


i 


lYLlA 


ANNIHA  ElMP/eX 


Peace  be  with  thee,  Valeria.     Julia,  Virgin,  guileless  spirit.* 
These  2  also  come  from  S.  Priscilla : 


IVL  •  TARSAHEC 
C-SECVNDINE  COJVGI 
DVLCISSIME  PAX 


Julius  Tarsaeus    To  C.  Secundina  most  sweet  wife.     Peace. 


AVRELI • VARRO 
DVLCISSIME  •  ET 
DESIDERANTIS 
SIME  •  COIVX  •  PAX 
TIBI  •  BENEDICTE 


To  Aurelius  Varrus,  most  dear  and  most  desired  husband 
Peace  be  with  thee  blessed  one. 

One  inscription  records  an  aqui  .  .,  another  priscus 
.   .   ,   uLPi^,    remarkable  for   the   names   Aqnila   and 

*  In  catacomb  inscriptions  however,  spiritus  is  always  used  for 
the  deathless  part :  spiritus  inns  in  Bono ;  anima  for  the  character ; 
the  animal  soul,  as  here,  where  singleness  is  noted  as  the  character 
of  the  deceased  girl,  a  distinction  preserved  in  i  Thess.  iv.  23. 


Crypt  of 
the  Mar- 
tyr Cres- 
centio,  dis- 
covered 
1 890- 1. 


Hypo- 
geum  of 
Acilius 
Glabri- 
onius. 


492        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Prisons,  and  for  Uipia  the  gentilitium  of  the  Emperor 
Trajan.  Another,  in  Greek,  is  to  "  Caia  Phoebe, 
philandra  (lover  of  her  husband)  Kapiton  her  husband 
(synbios)  placed  this,  and  for  himself  also."  Phoebe 
is  the  rare  name  mentioned  by  Paul  as  that  of  the 
woman  deacon  who  carried  his  letter  to  the  Romans. 
A  4th  inscription  runs :  Titus  Flavins  Felicissitnus  positiis 
est,  probably  to  the  son  of  a  freedman  of  the  Emperor 
Titus. 

A  region  has  been  discovered  which  leads  from  the 
foot  of  a  stairway  to  an  ancient  hypogeum,  covered 
with  the  names  and  prayers  of  visitors  to  the  martyrs' 
shrines.  Amongst  these  invocations  are  prayers  to 
Priscilla  the  founder,  and  to  the  martyr  Crescentio, 
the  poor  blind  companion  martyr  of  Laurence.  In 
the  crypt  of  Crescentio  is  a  rude  fresco  on  the  right 
wall  representing  the  3  children  refusing  to  adore 
Nabuchodonosor's  idol ;  on  the  left  wall  the  2  resur- 
rections, of  Lazarus,  and  the  Ruler's  daughter,  were 
painted ;  but  the  plaister  has  perished.  Many  Latin 
and  Greek  names  and  acclamations  were  written 
across  them. 

In  1888-9  a  hypogeum  was  discovered  which 
possesses  a  special  interest.  In  his  life  of  Domitian, 
Suetonius  relates  that  the  emperor  exiled  the  consul 
Acilius  Glabrionus,  with  many  others,  as  "  molitores 
rerum  novarum";  without  doubt  this  description 
alluded  to  the  *'  new  superstition"  spoken  of  both  by 
Suetonius  and  Tacitus.  Dion  Cassius  adds  that 
Acilius  was  not  only  accused  of  "  starting  new 
things,"  but  of  the  same  faults  for  which  many  others 
had  fallen  victims ;  having  previously  spoken  of 
Flavins  Clemens  and  his  wife  Domitilla,  accused  of 
atheism.'-'  Baronius  and  others  had  therefore  always 
suspected  that  the  consul  had  been  condemned  for  his 
Christianity;    and   to-day  this  is  rendered  certain  by 

*  Vide  also  catacomb  of  Domitilla  on  the  Ardeatina.  Atheism 
was  a  charge  brought  against  Christians,  as  despisers  of  the 
Koman  gods. 


THE  CATACOMBS  493 

the  discovery  of  this  hypogeum  which  is  the  burial 
place  of  his  near  and  distant  descendants.  It  consists 
of  a  Hall,  which  was  the  chief  mortuary  chamber ;  the 
walls  were  originally  marble,  and  2  fine  fluted  columns 
of  giallo  antico  have  been  put  together  from  the  pieces 
found  among  the  debris.  Bits  of  inscription  with  the 
names  of  the  Acilii  Glabriones  abound.'''  This  hypo- 
geum is  in  the  primitive  and  central  region  of  the 
cemetery,  and  it  is  stated  that  it  may  have  been  the 
nucleus  of  Priscilla's  catacomb;  and  hence  Priscilla 
was  probably  of  kin  to  the  Acilii,  and  co-proprietor  of 
this  land  with  the  Consul.  One  inscription  in  fact 
commemorates  a  Priscilla  of  Senatorial  rank,  married 
to  one  of  the  Manii  Acilii  Glabriones  noble  even  in 
Republican  Rome.  The  tract  was  originally  separated 
from  the  other  galleries  which  now  branch  off  from  it. 

We  have  seen  that  a  number  of  buildings  stood  Basilica 
over  this  catacomb  ;  the  ruins  of  the  Basilica  of  S.  °f  S.  Syl- 
Sylvester  and  its  annexed  oratories  have  recently  been  ^^^'^'■• 
found,  and  their  site  exactly  corresponds  with  the  top 
of  the  crypt  of  Acilius  Glabrionus.  This  basilica, 
constructed  after  the  Peace,  was  restored  by  Adrian  I. 
Here  were  translated  the  bodies  of  Felix  and  Philip, 
and  the  sarcophagus  of  Marcellus  with  2  other  Popes 
Celestinus  and  Vigilius,  lying  near.  Near  Pope  Syl- 
vester lay  Siricius,  the  successor  of  Damasus.  None 
of  the  original  resting-places  of  these  Popes  has  yet 
been  discovered :  the  Liber  Pontificalis  tells  us  that 
Marcellus  was  buried  near  the  crypt  of  Crescentio.  The 
catacomb  suffered  in  the  siege  of  Vitiges  537  a.d.  and 
again  under  Aistulphus  and  the  Lombards  in  755. 
From  this  time,  when  Paul  L  removed  the  body  of 
Sylvester  to  S.  Silvestro  in  capite  within  the  city,  the 
catacomb  was  abandoned. 

A  rude  instance  of  an  inscription  with  the  martyrs'  A  martyr's 
letter  |y|,  traced  with  ancient  coloured  lettering  on  the  tomb. 

*  Magnus  Acilius  Glabrionus  was  Consul  with  Trajan  ad.  95, 
and  Pertinax  (193)  declared  the  Glabriones  to  be  the  noblest  of 
the  Patricians. 


494        CHRISTIAN  AND  ECCLESIASTICAL  ROME 


tiles,  has  been  railed  off  by  De  Rossi  as  betokening 
the  resting-place  of  a  martyr.  To  this  same  family 
of  inscriptions  belonging  to  the  first  generation  of 
Christians  who  lie  in  this  cemetery,  pertains  the 
Filumena.  II.  century  tombstone  of  a  certain  Filumena  found 
here  in  1802.  Three  tiles  were  seen  with  Pax  tecum 
Filumena  inscribed  on  them ;  the  symbols  were  an 
anchor  four  times  repeated,  a  flower  twice,  and  a  palm. 
The  inexpert  fossor  in  putting  the  3  pieces  together 
had  placed  lumena  first,  a  piece  of  unskilfulness 
by  no  means  singular  in  the  catacombs. 


Flower     1 

anchor 

PAX  TE 

CUM  FI       i 

LUMENA 

flower      palm 

anchor 

anchor              1 

anchor 

anchor 

Flower 

LUMENA 

PAX  TE 
flower      palm 

CUM  FI 

anchor 

anchor. 

anchor 

In  1832  a  nun  had  a  revelation  of  the  life  and  death 
of  a  Christian  martyr  called  Filumena,  which  began 
the  special  veneration  for  this  unknown  martyr.  But 
nothing  has  increased  it  so  much  as  the  veneration 
felt  for  her  by  the  holy  priest  Jean  Baptiste  Vianney, 
the  Cure  d'Ars,  to  whom  Filomena  was  "  cette  chere 
petite  sainte  " ;  who  worked  miracles  for  him,  and  to 
whom  he  erected  a  chapel  in  his  parish  church  at  Ars. 
The  inscription  was  removed  to  a  museum  out  of 
Rome,  and  the  place  in  the  cemetery  where  it  was 
discovered  was  left  unmarked. 
Carmen  to  Oiie  of  the  inscriptions  found  in  this  cemetery,  but 
Agape.  now  removed  from  it,  is  in  the  following  rare  form  of 
a  carmen  on  an  unknown  woman  Agape : 


THE  CATACOMBS  495 

Eucharis  est  Mater  Pius  et  Pater  est 

Vos  precor  0  Fratres  orare  hue  quando  Veiii{tis) 

Et  precibus  totis  Patrmn  Natumque  rocatis  (rogatis) 

Sit  vestrcB  7nentis  Agapes  Cara  meminisse 

Ut  Deus  omnipotens  Agapen  in  sacula  serve(t) 

Dixit  et  hoe  Pater  omnipotens  ettm  .  .  . 

De  terra  sutnptus  terra  traderis  hu{mandus) 

Sic  nobis  Situ  Filia  et  Agape  Christ  .  .  . 

Bis  denos  septem  Q  annos  Emesa  .  .  . 

Hac  illi  per  Christum  fuerat  sic  .  .  . 

which  calls  on  all  the  brethren  who  come  there  to  pour 
forth  their  prayers  to  the  Father  and  the  Son,  to  have 
in  mind  dear  Agape,  whose  mother  was  Eucharis  and 
father  Pius,  that  the  almighty  God  may  keep  her  for 
ever.  Notice  in  the  6th  and  7th  lines  the  reference  to 
Adam  and  Eve  after  the  fall,  the  way  in  which  they  are 
always  represented  in  the  catacombs  :  "  The  Almighty 
Father  .  .  .  said :  taken  from  the  earth  to  the  earth 
thou  shalt  return." 

Priscilla  (i),  the  mother  of  Pudens,  is  presumably  Priscilla. 
the  founder  of  this  cemetery.  Little  is  known  of  her, 
as  little  is  known  of  Pudens,  but  if  the  story  which 
makes  her  S.  Peter's  host  is  authentic,  and  makes  the 
Pudenti  family  Paul's  converts,  we  can  readily  imagine 
the  part  she  played  in  the  first  beginnings  of  Christianity 
in  Rome.  A  second  Priscilla  (11)  is  her  descendant, 
owner  like  herself  of  t^ie  catacomb,  who  befriended 
Pope  Marcellus,  and  gave  him  permission  to  build  a 
crypt  in  her  cemetery  (a.d.  304).  This  Priscilla  gave 
the  catacomb  to  the  Church,  one  of  the  2  first  gifts 
recorded  to  that  society  into  which  the  treasure  of  the 
civilized  world  has  since  flowed.  Prisca  or  Priscilla 
(in),  Avife  of  Aquila,  tentmakers  of  Rome  who  fled  to 
Corinth  with  other  Christians  and  Jews  after  the 
Claudian  edict  (a.d.  49)  is  that  Priscilla  who  was 
friend  and  co-labourer  of  Paul,  and  who  taught 
Apollos  "  the  way  of  God  more  carefully."  In  Rome 
she  and  Aquila  received  Peter.  She  is  buried  in  this 
catacomb  with'  Aquila.*     De  Rossi   has  conjectured 

•  The  Martyrologies,  the  Acta,  the  Itineraries,  all  state  that 
they  were  buried  here.  Another  confirmation  of  Priscilla's  rela- 
tion to  the  mother  of  loudens. 


496        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

that  Prisca  or  Priscilla  was  a  freedwoman  of  the  great 
Priscilla,  or  that  Priscilla  was  her  patron.  Hence  her 
name.  The  relation  between  the  domus  Pudentianm 
and  the  domus  Priscce  has  been  described  in  the  account 
of  those  2  churches.  (See  :  Church  of  S.  Prisca  on 
the  Aventine.) 
Justin  Justin  Martyr,  born  about  a.d.  103  in  Shechem  a 

Martyr,  ^jj-y  q£  Samaria,  called  by  the  Romans  Flavia  Neapolis, 
was  a  Pagan,  and  one  of  that  brilliant  little  company, 
including  Origen,  and  Clement  of  Alexandria,  and  the 
neo-Platonist  Synesius,  who  were  brought  to  Chris- 
tianity through  philosophy."  This  Greek  philosopher 
continued  to  wear  and  to  teach  in  the  philosopher's 
pallium  in  Rome,  after  he  became  one  of  the  first  of 
the  Christian  apologists.  His  writings,  among  the 
first  of  Christian  writings,  have  nearly  all  come  down 
to  us  :  they  include  the  first  Apologia  written  to  Anto- 
ninus Pius,  the  2nd.  written  to  Marcus  Aurelius  and 
Lucius  Verus,  and  the  Dialogue  with  the  Jew  Tryphon. 
He  was  martyred  under  Aurelius  circa  a.d.  165.  Asked 
to  point  out  where  he  and  other  Christians  met,  he 
would  only  name  his  own  house,  f  His  festival  is  on 
April  14 ;  and  the  present  Pope  has  extended  the  office 
and  mass  for  the  day  to  the  whole  church. 

CATACOMB    OF    NOVELLAy.  VIA    SALARIA    NOVA. 

The  last  catacomb  on  the  Via  Salaria,  lying  opposite 
that  of  Priscilla,  to  which  it  was  joined,  as  we  have 
seen,  in  the  iv.  century.  Novella  had  constructed  it 
in  her  own  ground  as  an  amplification  of  the  latter, 
and  nothing  earlier  than  the  early  iv.  century  is  to  be 
found  there.     It  is  inaccessible. 

*  Clement  compares  philosophy  to  the  fire  brought  by  Pro- 
metheus to  illumine  and  gladden  the  nether  world.  Even  as 
early  as  the  iii.  century  the  superstition  innate  in  the  Orientals 
and  the  inroads  of  barbarian  peoples  made  the  absence  of  a 
philosophic  temper  felt  within  the  Church  itself.  This  was 
apparent  in  the  early  iv.  century,  in  the  calibre  of  the  Christianity 
then  so  warmly  embraced  by  Constantine, 

t  This  is  called  the  Title  of  Pastor  in  the  House  of  Pudeiis. 


THE  CATACOMBS  497 

THE    CATACOMB    OF    LUCINA,    VIA    OSTIA.  VlA 

This  is  the  place  where  the  first  Lucina  buried  the  Catacomb 
apostle  Paul.  It  was  in  her  own  ground,  and  originally  of  Lucina. 
there  existed  here  as  at  the  Vatican  a  tropaum*  or  cella 
memoria,  which  perhaps  was  a  monument  above 
ground.  The  body  of  S.  Paul  lies  now  where  Lucina 
first  placed  it,  and  where  her  successor  Lucina  re- 
placed it  in  the  in.  century.  A  small  portion  of  the 
cemetery  was  accessible  until  the  xvi.  century,  and  it 
is  much  to  be  desired  that  it  should  be  reopened ; 
although,  in  order  to  preserve  the  site  of  the  apostle's 
grave  intact,  the  3  Emperors  built  the  great  basilica 
immediately  over  the  spot,  and  so  devastated  the 
cemetery  (a.d.  386),  of  which  a  few  galleries  at  most 
may  survive. 

Several  hundred  inscriptions  from  the  area  above  Inscrip- 
ground  have  been  arranged  by  De  Rossi  in  the  museum  ^^°"^- 
of  the  annexed  monastery,  and  from  this  cemetery  come 
the  most  ancient  of  all  Christian  inscriptions.  Boldetti 
gives  us  3,  two  of  which  are  the  oldest  known  to  us 
bearing  a  consular  date,  the  one  being  in  the  consulate 
of  Sura  et  Senecio,  107  a.d.,  the  other  in  that  of  Piso 
et  Bolanus,  no  a.d.  The  former  is  scratched  on  the 
mortar  of  the  loculus,  the  latter  incised  on  marble. 
The  3rd  has  been  edited  by  Marangoni : — • 

DORMITIONI 
T.  FLA.  EUTY 
CHIO  .  QUI . VI 
XIT  .  ANN  .  XVIIII 
MES.  XI.  D.  Ill 
HUNC . LOCUM 
DONABIT  .  M. 
ORBIUS  HELI 
US.  AMICUS 
KARISSIMUS 
KARE  BALE. 
Marcus  Orbius  Melius  his  most  dear  friend  gave  this  locus  as  a  sleeping- 
place  for  Titus  Flavins  Eutychius,  who  lived  19  years, 
11  months,  and  3  days.    Dear  one,  Farewell. 

*  So  Eusebius  calls  it. 


498       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Consular 
date  A.D. 
235- 

Consular 
date  A.D. 
360. 

Consular 
date  A.D. 
377- 


An  inscription  of  a  precisely  similar  character  may 
be  seen  on  Pilaster  XIV.  of  the  Lateran  Museum  ; 
Marangoni  tells  us  it  was  taken  by  theft  from  the 
catacomb  of  Lucina,  and  the  anchor  and  fish  are  traced 
on  it.  Boldetti  and  Bosius  both  in  fact  confused  the 
cemeteries  of  Lucina  and  Commodilla,  the  latter 
having  been  penetrated  by  Boldetti.  These  inscrip- 
tions then,  though  given  by  Boldetti  as  from  the 
Lucina  catacomb,  may  possibly  come  from  that  of 
Commodilla.  A  still  more  ancient  dated  inscription 
exists,  of  the  "  Third  year  of  Vespasian  "  a.d.  72  ; 
but  it  is  no  longer  possible  to  say  from  which  cemetery 
it  comes. 

De  Rossi  rediscovered  a  small  area  of  Lucina's 
catacomb,  and  found  3  inscriptions  to  presbyters,  one 
of  which  he  assigns  to  the  11.  century.  From  the 
open  air  area  come  3  inscriptions  with  their  consular 
dates : — 

(i)  Aurelia  dulcissima  filia  quae  |  de  saeculo  recessit  |  vixit  ann. 
XV  M.  iiii  I    Severo  et  Quintin  .  coss. 

(2)  Pelegrinus  in  pace  cum  uxorem  suam  Sil  |  vanam  qui  exibit 
in  pace  xiiii.  Kal.  Ian.  \    Dn.  Const.  Aug.  x.  et  lul.  Cass.  iii.  conss. 

(3)  Qui  vixit  ann.  xlvi  mens  vii  D  Biiii  deposit  in  pace  Kal 
Mart.  I  Cinammius  Opas  lector  tituli  Fasciole  amicus  pauperum 
I  Gratiano  iiii  et  Merobavde  conss. 

LUCINA. 

There  are  so  many  historical  spots  in  Rome  con- 
nected with  this  name  Lucina  that  it  is  difficult  to  make 
choice  of  one  with  which  to  connect  this  account  of 
her.  It  appears  in  the  story  of  each  persecution  from 
apostolic  times  to  the  date  of  the  "  Peace."  For  the 
first  Lucina  was  succeeded  by  descendants  who  bore 
the  same  name,  to  the  iv.  century.  The  name 
Lucina,  with  "Venerable"  or  "blessed"  before  it, 
appears  as  that  of  the  Mothers  of  Roman  Christians 
and  Roman  Christianity,  from  the  inception  of  the 
Faith  till  its  recognition  by  the  Roman  Empire. 

Lucina  was  perhaps  a  Christian  surname,  alluding  to 
the  light  of  her  new  faith. 


THE  CATACOMBS  499 

While  it  would  seem,  observes  Armellini,  that  out 
of  reverence  for  these  noble  women  the  great  mass  of 
the  Christians  of  those  days  refrained  from  using  that 
revered  name,  and  we  find  no  Lucina  among  Christian 
epitaphs/''  each  of  the  descendants  of  Lucina  bears 
the  simple  name  Lucina  also.  The  same  thing  may 
be  noticed  as  regards  the  name  of  Peter  and  indeed 
of  Paul ;  they  were  not  adopted,  or  but  sparsely,  in 
early  Christian  nomenclature. 

Besides  the  Appia  and  Ostia  in  the  days  of  Peter 
and  Paul,  Lucina  possessed  land  on  the  Aurelia,  out- 
side the  Aurelian  Gate,  for  she  buried  here  the  gaolers 
of  the  apostles,  Processus  and  Martinianus,  who  were 
martyred  on  this  road,  "  on  the  sixth  nones  of  July."t 

In  the  middle  of  the  iii.  century,  another  Lucina,  in  Lucina 
the  time  of  Pope  Dionysius,  moved  the  bodies  of  the  ^"^4  ^°''' 
apostles  from  their  temporary  resting  place  ad  cata-  "^^  '"^' 
cumhas  on  the  Appia,  and  deposited  the  body  of  Paul 
in  her  own  land  on  the  Ostia,  where  her  ancestress  had 
first  laid  him  to  rest.     The  elder  Lucina's  descendants 
all  owned  her  crypts  on  the  Appia,  and  hence  we  find 
this   Lucina  burying   the   body   of  Cornelius   there  : 
corpus  ejus  b.  Lucina  collegit  et  sepelivit  Via  Appia  inpradio 
sHo.\     In  the  year  270  we  find  a  Lucina,  perhaps  the  Lucina 
same,  burying  S.  Sebastian  ad  catacumhas.    There  would  ^"^  S-  Se- 
seem  to  be  a  possibility  that  Cornelius,  the  first  pope  '^^^^*^"- 
belonging  to  an  old   Roman  gens,  and  buried  in  the 
sepulchre  of  the  Cornelii  in  the  crypts  of  Lucina,  may 
have  been  related  to  the  latter.     She  is  often  identified 
with  this  pope,  so  much  so  that  his  name  is  in  one  case 
inserted  where  Dionysius  ought  to  appear. 

Finally,  in  the  iv.  century,  on  the  eve  of  the  Peace,  Lucina 
and   during   the    worst    of    the    persecutions,    under  ^"<|  Mar- 
Diocletian,  the  name  of  the  last  Lucina  is  bound  up  '^^^'"^• 
with  the  history  of  the  catacombs  and  of  the  martyrs 

*  There  was  a  Lucina  virgin  and  martyr,  destined  to  be  a 
Vestal,  to  whom  her  parents  dedicated  a  statue.  Her  brother 
was  a  PrcBtextatus. 

t  Vide  catacomb  of  Processus  and  Martinianus. 

\  In  prcedin  suojuxta  Ccemeterium  CalUsti,  says  the  Lib.  Pont. 

32 — 2 


500       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


S.  Mar- 
cello  al 
Corso. 


The  first 


of  this  period.  She  was  the  friend  and  supporter  of 
Pope  Marcellus,  whom  she  received  into  her  house, 
and  afterwards  gave  it  to  him  :  and  here  he  conse- 
crated a  church.  This  is  the  site  of  S.  Marcello  in  the 
Corso.  She  buried  Marcellus  himself  in  Priscilla's 
catacomb. 

She  was  regarded  by  all  as  the  "common  Mother"; 
and  when  she  came  to  die  she  bequeathed  her  goods 
for  the  use  of  the  church  "  that  the  poor  might  be 
fed,  and  that  the  altars  might  be  provided  with  the 
necessary  things."     This  gift,  with  that  of  Priscilla 


gifts  made  ^g,-  friend  and  contemporary,  are  the  two  first  dona- 
Church  of  tions  made  to  the  Christian  society  of  which  we  have 
Rome.        authentic  knowledge.* 

We  have  seen  that  there  was  no  trace  of  the  name 
Lucina  in  the  catacombs  of  their  foundation.  But 
in  the  last  decade  a  discovery  was  made  by  Signor 


Seal  of 
Lucina. 


Armellini  in  the  cemetery  of  S.  Agnese.  On  the 
plaister  margin  of  a  loculus  in  one  of  the  galleries,  he 
found  the  impression  of  a  seal  with  a  palm  leaf  and 
the  inscription  turr  .  lucines.  We  give  the  exact 
copy.  We  have  here  the  seal  of  the  Lucina  of  the 
*■  Capefigue,  Les  Qiiati-es  Socicfcs,  Tome  ii.  p.  24C. 


THE  CATACOMBS  501 

III.  century,  of  whom  it  is  recorded  that  she  buried 
with  her  own  hands  some  of  the  martyrs  and  con- 
fessors, and  of  the  "  simple  faithful  also."  A  few 
years  later  De  Rossi  found  the  same  seal  in  the  crypt 
of  S.  Emerentiana.  The  evidence  points  to  the  con- 
clusion that  Lucina  had  this  seal  made  for  the  purpose 
of  sealing  the  sepulchres  ;  such  a  usage  being  very 
common  in  the  Christian  cemeteries.  The  one  dis- 
covered by  Armellini  was  repeated  10  times. 

The  TURK,  stands  for  Turannia,  a  name  of  ancient 
nobility,  which  is  mentioned  in  Tacitus.  De  Rossi 
has  discovered  kinship  between  this  gens  and  the  cele-  . 
brated  houses  of  A  nici  and  Bassi  praised  by  Jerome  and 
recorded  in  a  hymn  of  Prudentius.  The  palm  branch 
chosen  as  an  emblem  by  Lucina  was  appropriate  to  the 
Christian  dead  of  the  first  centuries,  and  to  the  special 
period  of  persecution  in  which  she  lived.  The  Greek 
ending  Lucin^s  should  be  noticed.  So  we  have  Eugenics 
Agap«.* 

CEMETERY   OF   COMMODILLA,    VIA    OSTIA. 

This  is  mentioned  in  the  ancient  Index  of  the  ceme-  Commo- 
teries,  and  w^as  the  foundation  of  an  unknown  matron,  dilla. 
who  established  it  in  her  own  land.    It  would  be  entered 

*  See  Catacomb  of  Callistus,  p.  423.  The  passage  about  Pom- 
ponia  from  Tacitus  is:  "  Pomponia  Graecina,  a  distinguished 
woman,  wife  of  the  Plautius  who  returned  from  Britain  with 
an  ovation,  and  accused  of  some  foreign  superstition,  was  re- 
mitted to  her  husband's  decision.  According  to  the  ancient 
custom,  involving  as  it  did  the  legal  status  and  reputation  of  his 
wife,  he  heard  her  cause  in  the  presence  of  the  kinsfolk,  and  de- 
clared that  she  was  guiltless.  This  Pomponia  lived  a  long  life 
and  of  continual  melancholy.  For  after  the  murder  of  Julia,  the 
daughter  of  Drusus,  by  Messalina's  treachery,  she  wore  no  attire 
but  that  of  a  mourner,  had  no  heart  but  a  sorrowful  one.  For 
this  she  remained  unpunished  while  Claudius  reigned  ;  and  after- 
wards it  turned  to  her  glory."  The  Annals  proceed,  "  The  same 
year  saw  many  impeached."  (Taciti  AnnaHum  xiii.  32,  a.u.c. 
810.  A.D.  57.)  Ovation  of  Plautius,  a.d.  47.  Messahna  mur- 
dered :  A.D.  48.  Julia  (sister  of  Germanicus,  her  second  husband 
being  Rubellius  Plautus)  put  to  deatb  a.d.  59.  Claudius  reigned 
from  AD.  41  to  54.     The  Annals  of  Tacitus  go  down  to  a.d.  68. 


502       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

from  the  vigna  Villani  under  the  hill  on  the  left  of  the 
road,  but  it  has  been  entirely  devastated.  Some  most 
interesting  frescoes  were  seen  in  it  by  Boldetti. 

Three  small  cemeteries  also  lie  on  the  Ostian  way, 
that  of  Theona,  discovered  in  1872  while  a  region  pre- 
sumed to  form  part  of  Lucina's  cemetery  was  being 
and  Zeno.  penetrated ;  that  of  Thecla*  penetrated  by  Boldetti,  the 
only  remains  of  which  have  now  been  discovered  by 
Armellini ;  and  that  of  Zeno  alluded  to  by  Bosio,  who 
found  it  mentioned  in  a  Latin  Codex  ;  its  existence 
is  now  rendered  certain  by  discoveries  made  by  the 
Trappists  of  Tre  Fontane. 


Cata- 
combs of 
Theona, 
Thecla, 


Via 

AURELIA. 

Cemetery 
of  Octa- 
villa. 


CEMETERY    OF    OCTAVILLA    AND    PANCRATIUS,    VIA 
AURELIA.       (OTTAVILLA    E    PANCRAZIO.) 

The  Itineraries  give  us  as  the  first  station  on  the 
Aurelia  Antica  the  cemetery  and  basilica  of  Pancratius. 
It  lies  outside  the  gate  of  that  name,  on  the  Janiculum. 
Nearly  all  the  cemeteries  on  this  Road  lie  under  pri- 
vate property,  and  are  in  great  part  unexplored.  The 
galleries  here  are  narrower  than  usual  and  are  very 
spoiled  ;  very  few  traces  of  paintings  and  very  few 
inscriptions  remain.  The  soil  is  so  friable  and  humid, 
that  it  was  necessary  even  in  the  iv.  century  to  support 
the  galleries,  and  traces  of  this  work  can  be  seen.  On 
some  inscriptions  the  anchor  is  found.  Boldetti  gives 
us  2  epitaphs,  dating  after  the  Peace.  One  to  a  woman 
called  Rosula,  and  one  to  a  man  Socrates.  A  iv.  cen- 
tury inscription  to  a  certain  Sabina,  found  by  Armellini, 
has  been  affixed  to  the  walls.  Boldetti  has  also  pre- 
served an  ancient  inscription  with  excessive  expres- 
sions of  grief  very  rare  in  the  first  four  centuries  of  the 
Faith  : — in  pace  idibus  aug  domitianus  |  infelix  et 
MISER  POST  OBiTUM  |  TuuM  VIVO.  Ill  peacc  :  on  the  ides 
of  A  ugust  Domitian  unhappy  and  wretched  I  live  after  thy 
death.  A  few  others  previous  to  the  iv.  century  have 
been  found. 


*  The  Thecla,  founder  of  this  hypogeum,  is  ignotissima. 


THE  CATACOMBS  503 

In  the  basilica  erected  over  Octavilla's  catacomb  Basilica 
and  dedicated  to  Pancratius,*  lay  interred  the  martyrs  ^-nd  Gre- 
Artimius,     Paulinus,     Sofia    and    her    3    daughters,  homiW. 
Agape,  Pistis,  and  Elpis.     S.  Gregory  the  Great  read 
his  32nd   Homily   in  this  church.     In  it  he  told  his 
hearers  of  a  matron  who  during  the  Gothic  wars  came 
to  pray  at  the  shrine  of  SS.  Processus  and  Martinianus : 
one  day  these  martyrs  appeared  to  her  dressed  as  pil- 
grims, and  as  her  almoner  (Erogator)  was  about  to 
give  them  an  alms  at  her  direction,  they  came  near  to 
her  saying :  "  T?<  tios  modo  visitas  ;  nos  te  in  die  judicii 
reguiremus   et  quidqnid  possumus  prastahimiis  tihi  "   and 
disappeared.     "Thou  dost  visit  us  now;  but  we  in 
the  day  of  judgment  will  seek  thee,  and  will  give  thee 
whatever  help  we  can." 

An  illustrious  Christian  Octavilla  recovered  the  body  Octavilla. 
of  Pancratius,  and  buried  it  in  a  sepulchre  in  her  own 
land. 

This  celebrated  martyr  was  decapitated  on  the  Via  Pancra- 
Aurelia,  being  only  14  years  old.     This  was  during  ^^"^• 
the  Diocletian  persecution. 

CEMETERY   OF    LUCINA,    OR   OF    SS.    PROCESSUS   AND        Cemetery 
MARTINIANUS,    VIA   AURELIA.  °'  Proces- 

'  sus  and 

This  important  catacomb  is  almost  entirely  hidden  Martini- 
under  the  earth  and  ruins  which  have  covered  it  for  ^"^"^^ 
centuries.     Some  galleries  are  still  to  be  seen  in  the 
ruinous  tracts  extending  under  the  Villa  Pamfili  Doria  Origin, 
and  the  Via  Pellegrini.    The  catacomb  is  due  to  Lucina,  The 
and  is  therefore  apostolic;  and  either  she  herself  or  Lucina     ^ 
one  of  her  illustrious  descendants  of  the  iii.  century  wg 
was  buried  here, 

A  basilica  dedicated  to  the  2  martyrs  once  existed  Basilica, 
here.     Some  say  it  was  here  that  on  their  feast  day 
July  2,  Gregory  read   his  32nd   homily  on  the  xvi. 
Matthew. 

Processus  and  Martinianus  are  called  the  first  fruits  Processus 

and  Mar- 
•  See  Church  of  S.  Pancrazio,  tinianus. 


504       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

of  the  faith  in  Rome  ;  and  they  formed,  perhaps,  part 
of  the  multitude  of  victims  under  Nero.  In  their  acts 
we  are  told  that  Lucina  comforted  them  in  their  dread- 
ful sufferings  and  attended  them  in  prison,  a  few  days 
after  the  death  of  the  apostles.  This  cemetery  took  its  rise 
from  their  interment  here.  The  Breviary  tells  us  that 
they  were  2  keepers  of  the  Mamertine  prisons  at  the 
time  the  apostles  were  confined  there.  They  were 
converted  and  baptized  with  40  other  persons  in  the 
water  which  sprung  from  a  stone  in  the  prison."  They 
refused  to  venerate  the  image  of  Jupiter  (perhaps  the 
Jovis  Capitolinus  close  by !)  and  were  then  horribly 
tortured,  beaten  with  clubs,  while  burning  plates  were 
applied  to  their  bodies.  In  this  torment  the  only  cry 
heard  was  these  words:  Sit  nomen  Domini  henedictum . 
They  were  cast  back  into  prison,  and  then  despatched 
on  the  Via  Aurelia.  Lucina  buried  them  sexto  mnas 
Julii.  Their  bodies  now  lie  in  the  Vatican,  where 
there  is  a  chapel  to  their  memory. 

Cemetery  CEMETERY    OF    CALEPODIUS,  VIA    AURELIA. 

of  Cale- 

podius.  This  cemetery  on  the  Aurelian  Way  used  to   be 

confused  with  that  of   Octavilla.     It   lies  at  a   con- 
siderable  distance    along    the    road,   neglected    in   a 
vigna. 
Callistus.        Here  Callistus  was  buried,  and  here  Julius  I.  erected 
The  over  the  site  the  basilica  to  his  memory,  the  first  in 

basilica.      Rome  dedicated  to  a  martyr  Pope  (340). 
S.  Cale-         Calepodius  is  the  old  priest  martyred  shortly  before 
podius.       Callistus,  whose  body  was  thrown  into  the  Tiber,  and 

whom  Callistus  took  care  to  bury  honourably. 
Basilica  of  A  basilica  of  S.  Felix  was  built  further  along  the 
S.  Felices  Aurelia  after  the  Peace,  dedicated  to  S.  Felix  II.,  who 
himself  built  a  basilica  there.  This  is  the  pope  men- 
tioned on  p.  521.  He  was  archdeacon  of  Rome  when 
elected  ;  and  declared  the  son  of  Constantine  a  heretic. 
(Duchesne,  Lib.  Pontificalis.) 

*  Vide  church  of  S.  Pieti-o  in  carcere. 


■      THE  CATACOMBS  505 

CEMETERY   OF    GORDIANUS    AND    EPIMACHUS,    ON    THE     Via 

VIA    LATIN  A.  Latina. 

This  is  the  first  catacomb  reached  on  the  Via  Latina,  Cemetery 
outside  the  Latin  Gate,  a  road  which  like  the  Appia  °^^g''^.^" 
and    Fiaminia   was   flanked    in   imperial   times    with  machus. 
sepulchres,  and  was  one  of  the  vies  praclarissima .     The 
catacomb  has  not  been  excavated,  11.  century  martyrs 
were  buried  in  it.     Gordian  was  interred  here  in  the 
time  of  Julian  the  apostate.     Epimachus  was  an  Alex- 
andrian martyr. 

CEMETERY    OF   TERTULLINUS,    VIA    LATINA. 

A  catacomb,  of  unknown  origin,  discovered  by  Bol- 
detti  in  1687.  Over  the  entrance  was  the  inscription  : 
Coemeterium  B.  Tertullini  Martyris.  It  is  now  hidden, 
but  is  supposed  to  lie  at  about  the  same  distance  on 
the  Latina  as  Eugenia's  catacomb.  It  has  never  been 
excavated.  The  martyr  Tertullinus  suffered  under  The 
Valerian.  martyr. 

THE    CEMETERY    OF    S.    EUGENIA,    OV    APRONIANI, 

Lay  at  the  second  mile  of  the  Latina.     It  was  entered  Cemetery 
in  1596  by  Bosio,  and  afterwards  destroyed  under  his  of  Euge- 
eyes.  "'* 

CEMETERY    OF    DOMITILLA,    ON    THE    VIA    ARDEATINA.''=      Via  Ar- 

This  is  one  of  the  5  cemeteries  which  date  from  apos-  catacomb 
tolic  times.     It  stretches  under  the  tenement  called  of  Domi- 
to-day  Tor  Marancia  (Torre  Amarantia),  and  was  first  tilla. 
penetrated  by  Bosio  who  confused  it,  as  his  successors 
have  also  done,  with  the  catacomb  of  Callistus.     It 
was  here  that  Bosio  and  his  companions  were  lost,  as 
related  elsewhere. 

\Xe  know  that  the  pradia  Amarantiana  belonged  in  Praedia 
the  I.  century  of  the  Empire  to  a  branch  of  that  gens  Amaran- 
Flavia,  which  ascended  the  throne  of  Augustus  with  "^"^ 
Vespasian.      One   of    this   gens   was    Titus   Flavins 

*  In  the  Itineraries  :  Coemeterium  Domitillae,  Neri  et  Achillei, 
ad  S.  Petronillam,  Via  Ardeatini. 


5o6        CHRISTIAN  AND  ECCLESIASTICAL  ROME 


The 
Flavii. 


Flavia 


Titus 

Flavius 

Sabinus. 


Sabinus,  who  was  twice  Prefect  of  Rome,  under  Nero 
in  64  and  again  in  69.  His  brother,  Titus  Flavius 
Vespasianus,  is  the  Emperor  Vespasian. 

Christianity  entered  early  into  the  Flavian  House ; 
in  the  time  of  the  apostles  there  were  illustrious 
members  not  only  Christians  but  martyrs.  These 
Christian  Flavii  belonged  precisely  to  that  branch  of 
the  gens  which  possessed  the  Praedia  iVmarantiana, 
where  the  catacomb  of  Domitilla  was  excavated.  A 
stone  recently  come  to  light  has  shown  us  that  this 
spot  was  pradium  Flavice  Domitilla,  the  land  of  Flavia 

Domitilla.  Domitilla.*  Pagan  and  ecclesiastical  history  both 
attest  the  fact  that  members  of  this  family  embraced 
the  new  faith,  and  this  has  received  confirmation  from 
the  most  recent  discoveries  in  the  catacombs.  We  do 
not  know  who  was  the  first  person  to  be  converted, 
but  from  the  position  of  Titus  Sabinus  as  Prefect  of 
Rome  he  must  have  examined  the  causes  of  the  Chris- 
tians during  the  Neronian  persecution.  Thus  perhaps 
he  was  led  to  become  a  Christian  himself,  or  at  least 
to  be  inclined  towards  the  Christians.  This  suspicion 
is  apparently  confirmed  by  certain  uncomplimentary 
remarks  about  him  made  by  contemporary  historians  : 
Tacitus  notices  in  him  a  great  meekness  of  mind  and 
nature  "  mitem  virem  abhorrentem  a  sanguine  et 
caedibus,"  words  which  as  applied  to  a  Roman  official 
imply  censure.  Towards  the  end  of  his  life  this  failing 
appears  to  have  become  strengthened,  so  that  he  was 
incomprehensible  to  the  gentile  Romans  "  in  fine  vitae 
alii  segnem  credidere,"  they  thought  him  apathetic 
and  did  not  understand  him.  Such  was  the  language 
employed  when  the  higher  classes  suspected  of  Chris- 
tianity were  alluded  to.     ' 

His  daughter  the  celebrated  Flavia  Plautilla  married, 

daughter,  gj^^j  Yiei  daughter  is  Flavia  Domitilla  the  founder  of 
this  catacomb.    His  two  grandsons  were  called  respec- 

*  A  piece  of  ground  was  granted  to  Sergius  Cornelius  Julianus 
"  ex  indulgentia  Flavias  Domitillae  Neptis  Vespasiani  ":  by  the 
grace  of  Flavia  Domitilla  niece  of  Vespasian. 


His 


THE  CATACOMBS 


507 


IF 

jyA       .2  « 


to    -g    . 


S2  0)  D  Q  22 
(i)T3.;= 


Cfi 


.3fii 


o  ^^ 


Hi^O^-2 


3t3   C 
C   C   O 

-lis. 

E  «  E 


-II 


fa       nJ 


-2  2  E  c 

E  rt^l 

.2  g  <u  S2  >^ 

>  o  >  o  t: 
il 


6  X.S 

E  o 
2     Q 


M  j3  3  O^ 
H  d  o  < 


C  rt 
rt".2  rt 


5^  S  ir: 

•r'    TO    U 
> ,  -rt      ■ 


>-:  (D  O  j!i 
rt  c  ^  "Tj 

"  S     '2  2 


I 


••-'    CO 


.3  (D^.t: 
-S§^-E 


<  s 


508        CHRISTIAN  AND  ECCLESIASTICAL  ROME 


The  cata- 
comb. 


Flavian 
region. 


tively  Vespasian  and  Domitian  by  their  uncle  the 
Emperor  Domitian  who  wished  to  name  them  as 
his  heirs.  It  was  when  Christianity  had  been  almost 
placed  upon  the  throne  of  Augustus,  that  it  was  cast 
from  the  splendours  of  the  Palatine  to  the  gloom  of 
the  catacombs  :  after  30  years  of  peace  the  Emperor 
Domitian  himself  recommenced  the  persecutions,  and 
their  most  illustrious  victims  were  his  cousin  Titus 
Flavins  Clemens  and  Flavia  Domitilla.  (See  genea- 
logical plan.)=^- 

From  this  persecution  dates  the  new  crime  invented 
to  meet  the  case  of  the  Christians  molitores  rerum 
iiovarum,  movers  of  new  things;  not,  as  the  historian  says 
of  one  of  these  victims,  that  he  had  broken  any  law, 
but  tantum  molitor  rerum  nova.r\im,  as  a  tnover  of  new 
things. 

Clemens  and  his  wife  were  accused  of  atheism,  and 
condemned  on  this  charge.  Domitilla  the  younger 
was  exiled  for  the  same  crime  to  the  Island  of  Pontia. 
(Eusebius.) 

The  catacomb  is  excavated  in  two  principal  floors, 
wnth  several  minor  floors ;  there  being  no  less  than 
5  levels  in  some  regions.  The  galleries  in  some  places 
are  very  large  and  high.  Its  character  shows  it  to 
appertain  not  only  to  the  first  age  of  Christianity,  but 
to  a  noble  Roman  family.  Originally  different  hypoga^a 
were  placed  in  various  parts  of  the  praedia,  each  having 
its  own  entrance,  and  united  later  by  galleries  and  by 
secondary  excavations  from  the  in.  century  onwards. 

To  the  primitive  period,  the  epoch  of  the  Flavii,  are 
traceable  two  great  centres  of  excavation,  at  a  distance 
one  from  another,  and  almost  contemporaneous. 

In  1865  the  entrance  to  the  first  of  these  was  found  ; 
it  is  not  one  of  the  hidden  entrances,  but  is  on  the 
public  road  which  joined  the  Ardeatina  to  the  Ostia. 

*  This  was  ostensibly  a  persecution  of  the  Jews  with  whom 
the  Christians  were  then  confounded.  Suetonms  says  that  the 
proscription  of  the  hnpro/essi,  Jews,  or  those  who  lived  after  the 
manner  of  Jews  was  due  to  the  rapacity  of  the  emperor. 


THE  CATACOMBS  509 

We  enter  a  large  vestibule,  and  a  fragment  found 
near  here  perhaps  gives  us  the  inscription  which  was 
originally  placed  over  it  with  the  name  of  the  pro- 
prietor ;  the  place  for  such  a  titidus  may  still  be  seen 
over  the  monumental  doorway,  a  quadrangular  cornice  ; 
and  De  Rossi  conjectures  that  this  titulus  may  have 
consisted  of  the  simple  words  sepulcrum  flaviorum, 
with  the  symbol  of  the  anchor. 

At  the  end  of  the  11.  century  two  buildings  were 
erected  on  either  side  of  the  vestibule ;  on  the  right  a 
schola  used  as  a  triclinium  for  the  funeral  agape,  with  a 
seat  running  round  the  wall.  On  the  left  a  series  of 
little  rooms,  with  a  small  reservoir  and  a  well,  can  still 
be  traced. 

Three  steps  lead  to  the  slightly  inclining  descent.  The 
the  vaulted  roof  decorated  with  grapes  and  birds  ;  the  descent, 
painting  is  exquisite  as  art,  and  has  been  compared  by 
De  Rossi  with  that  of  the  Villa  of  Livia,  and  with 
that  of  the  most  perfect  columbaria  of  the  time  of 
Augustus. 

On  the  left  still  remains  a  Daniel  among  the  lions,  the 
earliest  instance  of  this  subject,  and  2  persons  reclining 
at  a  banquet,  the  tripod  and  fish  before  them,  the  minister 
of  the  feast  standing  by ;  the  beautiful  classic  form  of 
these  is  very  noticeable.  When  we  reach  the  end  of  the 
descent  the  vaulted  roof  becomes  flat,  and  the  character 
of  the  decorations  alters.  In  the  walls  are  four  great 
recesses  for  sarcophagi.  None  of  the  usual  precautions 
have  been  observed ;  the  name  is  over  the  door,  the 
entrance  is  large  and  easy,  religious  subjects  are  depicted 
from  the  entrance,  and  these  great  sarcophagi  meet  the 
eye  at  once.  All  this  points  to  construction  in  a  time 
of  Peace.  Besides  these  four  recesses,  four  galleries  of 
loculi  branch  off  from  here.  The  loculi  are  larger 
than  usual,  the  fronts  being  stucco  of  fine  workman- 
ship to  resemble  sarcophagi.  De  Rossi  finds  in  this 
an  indication  of  the  transition  from  the  sarcophagus  to 
the  loculus.  Near  these  sarcophagus-loculi  is  a  large 
oven  shaped  recess,  raised  a  little  from  the  ground, 


5IO        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

the  front  of  which  was  evidently  intended  to  be  closed 
with  a  large  stone.  It  is  an  imitation  of  the  tomb  of 
Joseph  of  Arimathea :  this  species  of  tomb,  called  by 
De  Rossi  Semitic,  is  exceedingly  rare  in  the  catacombs, 
and  another  proof  of  the  antiquity  of  this  hypogeum. 

The  inscriptions  here  present  in  many  instances  the 
beautiful  type  and  the  simplicity  of  the  first  age.  Un- 
fortunately the  cemetery  was  depredated  in  the  xvii. 
and  XVIII.  centuries  and  its  inscriptions  broken,  scat- 
tered, or  robbed. 
Loculi.  Bosio  found  congealed  blood  in  some  of  the  loculi, 

which  looked  like  earth,  but  when  tempered  with 
water  regained  its  red  colour.  He  also  found  the 
loculus  rendered  celebrated  by  Weismann,  the  simple 
epitaph  of  a  woman  called  Pollecla  who  is  therein  said 
to  have  sold  barley  on  the  Via  Nova. 

Another  loculus  is  inscribed  in  black  letters  on  a 
large  slab : 

ANENXAHTON. 

Subjects  The  subjects  found  here  are  Noah  in  the  ark  with 
of  Paint-  |-]^g  dove,  partly  destroyed ;  near  one  of  the  large 
'"^^'  recesses,  De  Rossi  found  traces  of  a  fisherman  draw- 

ing up  a  fish,  with  the  bait,  and  a  shepherd  with  his 
flock.  To  the  right  of  the  entrance  near  the  agape 
hall  is  a  little  sepulchral  chamber  decorated  with  the 
finest  stucco  work  representing  rose  buds  and  birds, 
and,  for  the  first  time  in  the  Christian  catacombs, 
Psyche  and  a  winged  cupid  filling  a  chest  with  flowers, 
which  is  repeated  3  times.  De  Rossi  points  out  that 
even  among  the  pagans  this  subject  was  of  uncertain 
signification,  and  in  this  instance  was  placed  near  the 
entrance  as  being  at  once  harmless  and  less  obviously 
Christian. 

In  1852  the  largest  staircase  in  any  Roman  cemetery 
was  found  ;  it  is  in  two  divisions,  leading  to  the  two 
floors.  At  its  foot  is  a  cubiculum  in  stucco  work,  the 
date  of  which  is  the  same  as  the  one  just  mentioned  : 
the  style  of  the  decoration  is  purely  Pompeian,  land- 
scapes and  rural  scenes,  dancing  cupids,  and  birds, 


THE  CATACOMBS  511 

which  would  be  indistinguishable  from  Pagan  designs, 
were  it  not  for  the  representations  of  the  Good 
Shepherd.  At  the  end  of  the  11.  and  beginning  of 
the  III,  centuries,  further  excavations  were  made 
opening  out  from  this  chamber,  which  present  a 
classical  regularity  of  construction. 

In  the  part  just  mentioned  occurs  the  following  :  Inscrip- 
Victoria  refrigera  isspiritus  tiis  in  bono.     The  form  ispiritus  *^*^"^- 
in  horn  is  pre-Constantinian.     By  it  is  one  of  the  same 
classical  type  :    .  .  .  Vibas — in  pace  et  pete — pro  nobis. 
From  here  comes  the  inscription  to  Sirica  given  on 
p.  400.     It  is  anterior  to  the  iv.  century. 

On  the  upper  floor,  on  the  left  of  the  large  stairway 
extends  a  dense  network  of  excavation  :  the  galleries 
cross  each  other,  and  there  are  a  number  of  cubicula. 
In  the  space  between  2  loculi,  in  a  gallery,  is  depicted 
the  half  figure  of  the  deceased  as  an  orante  ;  he  wears 
a  striped  tunic  and  has  the  head  veiled.  To  the  left 
Adam  and  Eve  stand  by  the  tree  after  the  fall.  There 
is  the  following  inscription  : 

B0Ng>2H 
BONo)Sa) 

TIo) 
KOIMo)  MEXOI 

EN  KcdHM 


The  sixth  line  was  painted  in  black,  and  not  cut  as  the 
others  are,  and  De  Rossi  saw  traces  of  3  letters  which 
he  thinks  might  have  belonged  to  EN  Oew  XP(torTo). 
The  loculus  of  a  child  called  Severina  has  depicted  on 
it  the  drawing  of  a  child  pressing  a  bird  to  its  breast, 
this  lies  in  the  great  network  of  galleries  excavated 
in  the  beginning  of  the  iii.  century.  The  least  ancient 
inscriptions  here  refer  to  persons  who  lived  in  the  first 
half  of  the  in.  century.  To  this  class  the  Bonosus 
inscription  above  belongs.  After  this  tomb  comes  an 
arcosolium  with  the  Good  Shepherd,  the  resuscitation  of 
Lazarus,  and  Moses  striking  the  rock.     Beyond  this 


512        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

Double      in  a  small  double  cubiculum  is  one  of  the  4  representa- 
cubiculum  tions  of  Orpheus  charming  the  animals.     On  his  right 
Oroheu      ^^^  animals  like  the  peacock,  camels,  and  birds  ;  on  his 
left  lions  and  tigers.*     This  is  in  a  deep  arcosolium, 
above  which  is  a  species  of  niche  flanked  by  2  painted 
columns  cut  in  the  tufa.     On  the  left  a  bearded  figure 
in  a  long  tunic  points  with  the  left  hand  to  a  little 
group  of  houses  representing  a  city  ;  near  this  is  the 
Blessed  Virgin  with  the  Child  on  her  knee.     Armellini 
is  sure  this  personage  is  the  prophet  Micah,  and  that 
the  reference  is  to  Micah  v.  2.     On  the  right  wall  of 
the  same  chamber  is  a  female  orante,  and  on  the  other 
side  a  male  orante,  perhaps  the  coniugi  to  whom  this 
cubiculum  belonged.     Noah  in  the  ark,  represented  as 
an   orante,  unbearded   and   in   a  white  tunic,  Christ 
raising  Lazarus,  and  Elias  giving  his  mantle  to  Eliseus 
from  a  car  drawn  by  2  horses,  are  all  to  be  found  here 
also.     On  the  left  wall  there  is  another  arcosolium,  and 
Moses  is  represented  removing   his   shoes.     Not  far 
An  arco    from  this  "  Orpheus  cubiculum  "  is  a  representation  of 
solium.       the  Redeemer  seated  in  the  midst  of  10  persons,  with 
an  open  volume  in  his  left  hand,  the  right  arm  stretched 
out  as  though  he  were  speaking. 
Seals  and       The   impression  of  a  seal  on  the   plaister   near   a 
other  ob-    loculus  shows  us  a  ship  on  the  hull  of  which  is  the 
In^twrre^  legend :  auget  mi  Deus.      May  God  further  me.     On  the 
„iQjj  cement  of  another  loculus  is  twice  repeated  the  impres- 

sion of  a  rectangular  seal  with  the  rare  name  agne.    In 
this  region  also  abound  lamps,  vases,  glass  plates,  and 
Incisions    all  kinds  of  little  objects.     In  1884  a  stone  inscribed 
and  em-     in  Greek   to   a   little  child  of  3  months  was  found, 
blems.        Beneath,  the  little  naked  figure  is  represented  between 
2  doves.     At  his  shoulders  are  2  little  wings,  perhaps 
the   only   instance   in   the   catacombs   in   which    the 
winged   soul   is   depicted.!      In  situ   still   is   a  great 

*  See  p.  400. 

t  The  idea  is  due  to  Pagan  art :  the  early  Christians  gave  no 
form  to  the  soul.  But  from  the  xi.  century  it  was  represented  as 
a  little  child  issuing  from  the  mouth  of  the  dying  person.  See 
also  chap.  ix. 


THE  CATACOMBS  513 

marble  slab  with  the  ship  emblem,  and  the  Latin- 
Greek  inscription. 


K'ALLIMACHVS  KOIVGI 

KARIS  SIMAE 

lOTAIA  EN  eEw 


KaUimachus  to  his  very  dear  wife  Julia  in  God. 

On  a  stone  recently  found  by  Sig.  Armellini  a 
curious  scene  is  depicted.  A  man  seated  on  a  cathedra 
with  his  arms  by  his  side  is  confronted  by  another 
man  with  both  hands  raised  as  if  to  do  him  violence. 
He  believes  that  this  represents  the  murder  of  Sixtus  II. 
Near  a  loculus  on  the  upper  floor,  is  one  of  the  oldest  The 
representations  of  the  Epiphany.  The  Madonna  is  Epiphany, 
seated  between  4  magi ;  she  wears  a  dalmatic  adorned 
with  purple  stripes  ;  the  child  on  her  left  knee  wears  a 
little  tunic  also  ornamented  with  purple.  The  magi 
all  wear  Phrygian  caps  and  present  their  gifts  on  large 
plates.  The  fresco  from  style  and  colouring  is  assigned 
to  a  date  not  later  than  the  beginning  of  the  in.  century, 
and  may  be  of  the  end  of  the  ii."''  This  scene  occurs 
some  20  times  in  the  catacombs,  and  still  more  fre- 
quently in  sculpture. 

The  decorations  of  a  chamber  found  in  1870,  are,  Cubicu- 
says  De  Rossi,  unique  ;  being  such  as  appear  only  in  '"m  dis- 
the  houses  of  the  Imperial  period,  for  example  in  the  '^"^^'"^d  in 
House  of  Germanicus  on  the  Palatine.    Little  columns, 
rectangles,  framed  mirrors,  and  tiny  classical  scenes 
are  depicted ;    one  representing  a  goat   and  2  sheep 
feeding,  another  a  naked  Love.     This  crypt  is  in  the 
midst   of  a   very   ancient   nucleus   of    the   cemetery. 
Among   the  debris  was  found  the  inscription  of  the 
proprietor   ampliati,  in    very    large    lettering    of   the 
classical  Flavian  type  ;    this  may  be  the  Ampliatus 

*  De  Rossi  :  Imagini  scelte  della  B.  Vergine  Maria  tratte  dalle 
catacombe  romane.     Roma  1863. 

33 


514       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

mentioned  by  Paul.*     Here  also  is  the  later  inscription 

of  the  II.  century  to  Aurelia  Bonifatia,  aurelI/E  boni- 

FATi^,  in  a  crypt  which  long  remained   isolated,  the 

Third  cen- region    round    being   very   ancient.      One   inscription 

tury  in-      bears  the  consular  date  289,  and  many  have  the  iii. 

scnptions.  century  acclamations :  vivas  inter  sanctos  et  in  orationihus 

tuts  petas  pro  nobis.     A  Greek  inscription  says  :  Prima 

with    hey    daughter    sleeping    in    God   the   Lord   Christ. 

Another  epitaph  ends  :  [credidit  in)  cristum  iesu  {m. 

vivit?  inpatr)E  et  filio  et  \sv{iritusancto).  Another  is: 

Fourth       Secunda  esto  in  refrigerio.  a  IV.  century  cubiculum 

century      is  decorated  with  a  female  orante,  on  whose  head  is 

fum^""      ^^®  monogram  of  Christ ;  to  her  left  S.  Paul,  to  her 

"™"  right  S.  Peter.     In  the  arch  below,  Christ  is  seated 

teaching,  the  12  at  his  side.     Peter  and  Paul  wear  the 

nimbus,  the  others  do  not.     This  is  the  second  instance 

in  the  catacomb  of  Christ  seated  among  the  twelve. 

A  fragment  of  an  epitaph  to  a  virgo  sacra  says  of  her : 


credidit  in  Iesu 


Ntr       Contiguous  to  this  is  the  cubi- 


Cubicu-      culum  of  the  Fossor  Diogenes,  Avho  is  represented  at 
lum  of  the  his  work,  in  the  rude  ungraceful  style  of  the  time  of 
fossor  Die-  Damasus.      This  and   the   last   cubiculum   are   both 
genes.        rough  and  unplaistered.    Boldetti  in  trying  as  usual  to 
detach  a  fresco  of  Christ  between  Peter  and  Paul  in 
this  crypt,  caused  it  to  perish.     A  painted  inscription 
annexed  to  the  fossor  also  perished. 
Earhest         The  bronze  dish  with  the  heads  of  Peter  and  Paul 
type  of  the  in  fine  late   11.   century  work,  now  in  the  Christian 
SS  IM^    museum  at  the  Vatican,  comes  from  this  cemetery, 
and  Paul   These  are  the  most  ancient  types  of  the  faces  of  those 
apostles  which  the  catacombs  have  preserved  to  us ; 
"and  may  be  called  their  portraits."     Peter  has  short 
crisp  hair,  a  round  crisp  beard,  with  coarse  and  promi- 
nent features.     Paul  has  the  features  thin  and  marked, 
the  head  bald,  and  a  long  curling  beard.     De  Rossi 
makes  us  observe  that  here  is  a  proof  that  the  con- 
ventional types  for  Peter  and  Paul  were  not  an  inven- 
*  Romans  xvi.  8. 


THE  CATACOMBS  515 

tion  of  IV.  century  artists ;  but  that  the  type  which  then 
prevailed  was  an  exaggeration  of  the  ancient  portraits. 

According  to  the  early  account  Flavia  Domitilla  the  S.  Uomi- 
younger  was  received  as  a  virgin  by  Clemens  Romanus,.'illa. 
Bishop  of  Rome,  and  then  denounced  as  a  Christian 
by  her  betrothed  Aurelian  the  son  of  the  Consul  Titus 
Aurelius,  and  exiled  by  Domitian  to  the  Island  of 
Pontia.  She  was  afterwards  led  to  Terracina  where 
showing  herself  ever  more  constant  to  her  faith  she 
was  condemned  to  die  with  2  virgins  Theodora  and 
Euphrosyne,  her  foster-sisters,  in  the  reign  of  Trajan  on 
the  nones  of  May.    But  this  alleged  event  is  not  certain. 

Plautilla  was  the  mother  of  Domitilla,  and  another  iMautilla. 
noble    figure   of  the   apostolic   age,   who   shared   her 
daughter's   exile.      It   is    said    that    both   had   been 
baptized  by  Peter  himself ;  and  that  Plautilla  bound 
the  eyes  of  Paul  before  his  decapitation. 

BASILICA    OF     SS.    PETRONILLA,    NEREO    AND    ACHILLEO, 
ON    THE    VIA   ARDEATINA. 

While  excavating  the  second  floor  of  the  cemetery  Basilica  of 
of  Domitilla  in  1854,  the  first  traces  were  found  of  a  S.  Petron- 
large  basilica.     This  church  had  been  erected  after  ilia. 
390  A.D.  near  the  ancient  vestibule  of  the  Flavii,  and 
over   the    Tomb    of    Nereus   and    Achilleus.'''      The 
excavations  were  again  resumed  after  an  interval  of 
20  years,  Monsignor  de  Merode   having   bought   the 
ground  to  allow  of  the  work  proceeding. 

The  basilica  as  now  brought  to  light  consists  of  a 
nave  and  2  aisles,  and  is  very  large.  No  trace  is  left 
of  altar  or  sedilia,  but  near  the  site  for  the  altar  there 
are  fragments  of  a  Damasine  inscription  on  Nereus 
and  Achilleus.  The  niche  for  the  episcopal  chair 
remains.  Near  it  a  rude  hand,  perhaps  a  child's,  has 
traced  on  the  plaister  the  figure  of  a  priest  in  the 
paniila   speaking   near   an   ambo.     Perhaps  this  is  a 

*  The  date  is  fixed  by  an  inscription  to  Beatus  and  Vincentia 
which  shows  that  it  was  already  built  in  395.  It  was  erected 
during  the  pontificate  of  Siricius  390 — 395. 

33—2 


5i6       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


S.  Petron. 

ilia's 

crypt. 


Vener- 
anda's 
tomb. 


I'lavii 
tombs. 


S.  Tetron- 
ilia. 


record  of  the  homily  delivered  here  on  the  feast  of 
SS.  Nereus  and  Achilleus  by  Gregory  the  Great.  On 
that  day  he  spoke  extemporaneously. 

At  the  end  of  the  aisle  to  our  right  as  we  enter,  is  a 
large  opening  to  the  cemetery  which  runs  round  by  the 
apse  ;  this,  which  is  called  in  an  inscription  introiUis  ad 
martyres,  led  to  the  sepulchre  of  S.  Petronilla,  behind 
the  apse.  Close  by  lay  the  remains  of  Nereus  and 
Achilleus  referred  to  by  Gregory  in  his  homily,  which 
were  transferred  later  to  the  titulus  Fasciola.  Many 
persons  up  to  the  iv.  century  desired  to  be  buried  in 
this  spot.  Over  an  arcosolium  here  a  matron  is  repre- 
sented, richly  dressed  in  an  ample  dalmatic,  as  an 
orante  in  the  celestial  garden.  This  is  Veneranda :  on 
her  left  a  young  girl,  unveiled,  receives  her.  At  her 
feet  is  a  scrinium  full  of  volumes,  and  by  her  head 
the  open  Gospel,  and  the  inscription  Petronella  Mart. 
Near  the  altar  of  the  martyrs  burnt  the  little  oil  lamps 
in  a  large  alabaster  basin.  There  is  here  a  marble 
slab  inscribed  with  beautiful  red  lettering  :  flavilla  ; 
and  here  too  is  the  Greek  inscription  of  Flavins  Sabinus 
and  Titiamis  his  brother,  a  most  ancient  record  of  the 
Christian  Flavii ;  Flavius  Sabinus  was  the  name  of 
Vespasian's  brother,  and  this  may  have  been  his 
grandson  or  great  grandson.  Near  this  is  an  inscrip- 
tion to  a  presbyter  Flavius  and  his  wife  Ulpia  Con- 
cordia, which  was  found  by  Marangoni : — 

*A^nT0AEMAI02 

np.  KAi 

OUAni  KONKOPAIA 
SUMB. 

Petronilla  has  come  down  to  us  as  the  daughter  of 
S.  Peter,  and  is  so  called  in  the  martyrologies  and 
itineraries.^-"  She,  Achilleus  and  Nereus  were  all 
interred  in  an  area  belonging  to  the  Flavii,  near  the 
archaic  vestibule  which  gave  entrance  to  the  Hypo- 

*  Cf  I  Pet.  V.  13,  where  the  Apostle  speaks  of  a  disciple  in  the 
words  "  and  so  doth  Mark  my  son." 


THE  CATACOMBS  517 

geum.  De  Rossi  discovered  in  Venice  what  was  un- 
doubtedly the  actual  inscription  on  Petronilla's  sarco- 
phagus, and  which  is  as  follows  :"■'  aureli^  PETRONiLLiE 
FiLi^  DULCissiM^.  As  has  been  pointed  out  by  De 
Rossi  Petronilla  could  not  be  formed  from  Petrus,  but  is 
formed  from  Petromns,  a  cognomen  found  at  the  head 
of  the  genealogy  of  the  Flavi  Augusti.  Petronilla 
then,  a  member  of  the  Aurelian  family,  was  Peter's 
spiritual  daughter,  and  therefore  one  of  the  first  of  the 
Roman  Christians.  The  title  martyr  does  not  occur  in 
the  most  ancient  martyrologies,  and  does  not  agree 
with  the  accounts  we  have  of  her  ;  according  to  which 
being  asked  in  marriage  she  desired  3  days  to  consider 
her  answer,  at  the  end  of  which  time  "the  mysteries 
of  the  Lord's  oblation  having  been  celebrated,  she 
received  the  sacrament  of  Christ,  lay  back  on  her 
couch,  and  gave  up  her  spirit."  (Martyrology  of  Ado 
for  31  May.)  The  sarcophagus,  moved  to  the  Vatican 
in  the  viii.  century,  was  destroyed  with  the  mausoleum, 
and  pieces  employed  as  building  material  !  She  is  a 
Patron  Saint  of  France,  which  as  "  the  eldest  daughter 
of  the  Church  "  takes  one  of  the  eldest  daughters  01 
Peter  as  its  Patron,  and  a  light  is  kept  burning  before 
her  altar  at  S.  Peter's  at -the  expense  of  France.  The 
long  tradition  of  her  kinship  to  the  apostle  may  have 
merely  originated  in  the  likeness  of  the  name,  but 
may  it  not  also  be  a  memorial  of  his  wife  who  accord- 
ing to  tradition  accompanied  him  in  his  preaching,  and 
encouraged  him  in  his  martyrdom,  and  whom  he  saw 
led  out  to  die  before  him  ?  Rome  would  then  have 
retained  the  memory  of  a  holy  woman  who  had  been 
near  to  Peter,  and  dear  to  him ;  and  preserved  it  in 
"  Petronilla."!     Petronilla's  feast  day  is  May  31. 

•  Cf.  also  that  in  S.  Agnese,  supra  on  p.  463.  Petro- 
nilla's inscription  was  removed  by  Stephen  II.  or  his  successor 
to  the  mausoleum  of  Honorius  and  Maria  by  the  Vatican 
Basilica. 

f  Strangely  enough  Petronilla's  body  was  brought  eventually 
to  the  exact  spot  where  the  IxKJy  of  Peter's  wife  must  have  been 
laid.     Vide  pp.  50,  80, 


SS.  Ne- 
reus  and 
Achilleus. 


518       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

In  the  Damasine  carmen  we  are  told  that  Nereus 
and  Achilleus  were  soldiers,  ministers  of  a  tyrant  whom 
they  served  from  fear,  until  their  conversion  to  Chris- 
tianity, when  they  fled  the  camp,  professed  themselves 
Christians,  and  were  put  to  death.  They  were  brothers, 
and  eunuchs  of  Flavia  Domitilla,  and  it  is  said  bap- 
tized by  Peter  at  the  same  time  as  their  mistress  and 
her  mother.  They  were  exiled  with  Flavia  and  put 
to  the  torture.  During  this  torture  they  continued  to 
deny  that  they  had  been  baptized  by  Peter ;  and  when 
no  torments  could  induce  them  to  sacrifice  to  idols, 
they  were  beheaded,  and  their  bodies  buried  on  the 
Farm  of  their  mistress,  near  her  and  their  disciple 
Auspicius.  So  far  the  Roman  Breviary.  But  the  acts 
of  these  2  martyrs  are  not  authentic.  However  their 
having  probably  been  members  of  the  Pretorian  guard, 
is,  as  we  have  seen  in  the  accounts  of  Paul  and  Peter 
in  Rome,  highly  interesting. 

Their  feast-day  is  kept  on  May  12. 


Mauso- 
leum of 
Damasus. 


Via  Cor- 
nelia or 
Trium- 

PHALIS. 

Via  di 
Porta 

PORTESE. 


CEMETERY    OF    BASILEO,    VIA    ARDEATINA. 

This  cemetery  was  incorporated  with  that  of  Domi- 
tilla after  the  Peace ;  and  from  that  time  was  called 
of  SS.  Marcus  and  Marcellianiis.  Here  Damasus  built 
a  small  mausoleum  in  which  he  was  interred.  William 
of  Malmesbury's  Itinerary  for  the  Via  Ardeatina  says: 
"  Between  the  Via  Appia  and  the  Via  Ostiense  is  the 
Via  Ardeatina,  where  are  Marcus  and  Marcellianus, 
and  there  lies  Pope  Damasus  in  his  church."  No 
trace  of  it  remains. 

Marcus  and  Marcellianus  were  2  Roman  brothers 
martyred  under  Diocletian. 

The  cemetery  where  was  Peter's  tropaum  is  described 
in  Chap.  IV.  It  was  also  known  as  the  Field  of  Livia, 
hortus  Livia. 

CEMETERY    OF    PONTIANUS,    VIA    DI    PORTA    PORTESE. 

Besides  this  catacomb  in  the  cemeterial  zone,  the 
suburban  cemetery  of  S.  Generosa  on  the  same  road 


THE  CATACOMBS  519 

has  also  been  excavated.     Other  names  for  this  cata-  Cemetery 
comb  are  5.  Felix,  at  the  Capped  Bear  (coemeterium  ad  0/  Pon- 
Ursum   Pileatum),  and  the  Cemetery  outside  the  Porta  ^'^" 
Navale,  from  its  vicinity  to  the  Navali.     The  present 
Porta  Portese  (Urban  VIII.),  so  called  from  its  leading 
to   Porto   near    Rome,    succeeds   the   Aurelian    Porta 
Portuensis  or  Porta  Navale,  anciently  known  as  Porta 
Sancti  Felicis  Marty ris.  In  the  title  Cyvieterium  Pontiani 
ad  Ursum  Pileatum  Abdon  et  Sennen,  we  have  the  3  ap-  Threefold 
pellations   which   often  cling   to  the  same  cemetery,  appella- 
Pontianns  that  of  its  first  founder  or  the  possessor  of  "°"  ° 
thepradium  ;  "ad  Ursum  Pileatum,"  the  topographical  teries. 
name  ;  finally  SS.  Abdon  et  Sennen,  the  name  given 
after   the    Peace   from   the   most   celebrated  martyrs 
interred  there.     Crossing  from  the  present  Trastevere 
Railway  Station,  we  take  a  steep  path  on  the  right 
leading  up  the  hill,  and  enter  by  a  long  and  steep  stair- 
case.    This  is  the  only  catacomb  excavated  entirely  in 
alluvial  soil.    It  is  in  3  levels,  but  the  walls  have  given 
way  in    many  places  and  filled   in   the  excavations. 
Bosio  who  found  the  catacomb  in  a  vineyard   of  the 
English  College  in  i6i8,  penetrated  it,  and  found  some 
of  the  sites  mentioned  in  the  Itinerarium   Salisbur- 
gensis.     He  describes  what  he  found,  all  of  which  can 
be  seen  perfectly  preserved  to-day.     On  July  29  he 
went  again,  this  time  with  an  artist  and  2  men  with 
pickaxes.     After  3  hours'  work  he  says  "  piacque  al 
Signore  di  consolarci,"  they  found  the  Baptistery.    This 
lies  at  the  foot  of  the  staircase ;  the  fresco  in  a  lunette 
is  a  head  of  Christ,  Byzantine  in  style.     He  has  a 
cruciform  nimbus,  the  right  hand  is  lifted  to  bless,  the 
left  holds  the  gospels.     The  beautiful  little  font  for  The  bap- 
immersion  is  the  only  one  which  remains  entire  in  sub-  tistery. 
terranean    Rome.      On   the   arch    before   entering   is 
another  Byzantine  head  of  Christ,  also  nimbused.     A 
flight  of  10  marble  steps  leads  into  the  water  which  is 
fed  by  a  spring ;  the  date  assigned  for  the  font  and 
frescoes  is  the  vi.  century.     On  the  wall  facing  the 
steps  John  baptizes  Christ  in  Jordan :  below  this  is  a 


Sepulchre 
of  S.  Pol- 
Hone. 


Graffiti. 


Crypt 
with  row- 


Entrance 
staircase. 


Inscrip- 
tions. 


520       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

gemmed  cross,  the  lower  end  of  which  touches  the 
water.  The  cross  is  decorated  with  flowers.  On  the 
left  wall  is  a  tomb  with  figures  of  SS.  Abdon  and 
Sennen  ;*  a  youthful  figure  holds  2  crowns  above  them, 
in  reference  perhaps  to  Esdras  :  *'  I  saw  a  great  crowd 
which  I  could  not  number,  singing,  and  in  the  midst 
a  youth  crowning  them."  These  2  saints  are  in  Per- 
sian costume  with  Phrygian  caps.  By  Abdon  stands 
S.  Milix  and  by  Sennen  Scs.  Bicentius,  a  cross  pre- 
cedes their  names.     Vincentius  is  clad  in  the  pmiula. 

Near  here  is  the  tomb  of  S.  Pollione,  with  afenestrella 
confessionis  above  it.  He  is  represented  with  Mar- 
cellinus  the  priest  and  Peter  the  Exorcist  on  either 
side.  All  3  have  crowns  in  their  hands.  On  the  right 
wall  is  another  gemmed  and  flowered  cross,  with  SS. 
Felix  and  Pigmenius  on  either  side.  The  same  2 
saints  are  again  represented  under  S.  Pollione.  The 
paintings  are  covered  with  graffiti ;  one  is  Saxon : 
HEALFREDE  PB  SERBUS  Di.  Another:  Eustattus  nmilis 
peccator  pbr  servitor  heati  Marcellini  Martyris  set  tu  qui  legis 
or  a  pro  me  ut  haheam  Deiim  protector  em. 

From  here  we  pass  along  narrow  and  low  passages 
to  a  crypt  at  some  distance.  The  most  interesting 
painting  here  is  supposed  by  Monsignor  Wilpert  to  be 
one  of  the  very  rare  scenes  from  real  life.  It  is  in  the 
lunette  of  the  arcosolium  opposite  the  entrance.  A 
rower  is  standing  erect  at  the  prow  of  a  sailing  boat 
laden  with  amphora  ;  and  the  reference  is  to  the  river- 
side emporium  near  by.  On  the  roof  is  the  Good 
Shepherd ;  in  the  angles  smaller  images  of  the  same. 
The  4  seasons  are  also  represented.  Returning  to  the 
foot  of  the  staircase — there  are  traces  of  iii.  century 
paintings  on  the  walls  :  Moses  striking  the  rock ;  oppo- 
site, Noe  in  the  ark ;  on  the  roof  Jonah  ;  the  3  children  ; 
and  the  sacrifice  of  Abraham. 

In  1884  Armellini  came  upon  a  region  of  the  ceme- 
tery where  he  judged  it  probable  that  S.  Candida  was 


Scs.  Ahdoi  Scs.  Senuei. 


THE  CATACOMBS  521 

buried.  The  names  of  2  excavators,  of  other  visitors 
of  the  XVII.  and  xviii  centuries,  including  2  Jesuit 
Fathers,  are  inscribed  here.  The  bits  of  inscription 
dispersed  about,  some  of  which  are  in  archaic  and 
beautiful  lettering,  show  that  this  cemetery  originated 
before  the  in.  century  ;  while  frescoes  of  the  vi.  and 
VII,  centuries  surely  betoken  the  presence  of  a  shrine. 
Among  the  symbolic  objects  depicted  are  the  waves  of 
the  sea  agitated,  and  the  anchor  thrown  on  the  beach. 
A  fragment  of  glass  with  the  heads  of  Peter  and  Paul 
was  found  here. 

Pontianus  is  unknown  to  us.     Panvinius  makes  him  Ponti- 
the  pope  of  that  name  ;  and  Bosio  says  he  is  the  Pon-  anus, 
tianus  mentioned  in  the  Acta  Callisti,  as  having  given 
the  latter  hospitality.     A  noble  family  of  this  name 
existed  in  Rome  in  the  xiv.  century,  and  S.  Francesca 
Romana  married  a  member  of  it.     It  is  certain  how- 
ever that   S.   Candida    buried  Pigmenius   in  cripta  in  s.  Can- 
coemeterio   Pontiani  in  prcsdio  stio  ad  Ursum   Pileatum,  dida  iv. 
during  the  Julian  persecution.  Either  then  she  inherited  century. 
the  field  of  Pontianus  or  excavated  crypts  near  it. 

Abdon  and  Sennen  were  Persian  Satraps  (Subreguli),  Abdonand 
beaten  to  death  in  the  Decian  persecution,  under  the  Sennen. 
statue  of  Nero  represented  as  Apollo,  by  the  Colosseum. 
Pigmenius  was  a  blind  man,  drowned  with  his  little  Pigme- 
guide,  and  buried  by  S.  Candida  who  recovered  their  "ius. 
bodies  from  the  Tiber.     Of  the  martyrs  Pollione  and 
Miles  little  is  known. 

A  church  was  built  here  by  S.  Candida,  which  is  Basilica 
spoken  of  in  the  Salzburg  Itinerary  as  Ecclesia  S.  Can-  ^^'-  '^®"' 
didae.     In  771  Adrian  rebuilt  it.     It  was  decorated  by  c^dida 
Nicholas   I.,   and    the    popes   Anastasius   (402)   and 
Innocent  I.  (417)  were  buried  here. 

BASILICA    OF    S.    FELIX    II.        "CEMETERY    OF    JULIUS    AT 
THE  III.  MILE,    S.  FELIX  ON    THE  PORTUENSIS."      Con- 

stnicted  after  the  Peace. 

All  the  itineraries  speak  of  a  Church  of  S.  Felix  Basilica  of 
Martyr.   The  Liber  Pontificalis  says  that  Felix,  hunted  ^  Felix 

■^  Martyr. 


522        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

from  Rome,  hahitavit  in  pradio  suo  Via  Portuense,  where 
he  died  8  years  after  the  return  of  Liberius,  a.d.  365. 
In  the  Salzburg  Itinerary  the  basilica  is  simply 
entitled :  ecclesia  b.  Felicis  martyris.  The  cultus  of 
Felix  II.  is  of  great  antiquity  and  very  special  in  the 
Roman  Church.  Paulinusof  Nola  retired  to  this  spot 
and  there  ended  his  life,  Bosio  suggests  that  the 
Felix  to  whom  the  basilica  is  dedicated  was  the  martyr 
companion  of  Hippolytus,  whose  feast  is  kept  on 
August  22.  The  fact  is,  however,  that  the  shrine  of 
S.  Felix  here  leaves  the  vexed  question  of  the  cult  of 
the  martyr  pope  who  administered  the  Church  in  the 
lifetime  of  Pope  Liberius,  as  vexed  as  before. 

ViaTi-  cemetery  of  cyriaca,  via  tiburtina. 

Catacomb  Two  ancient  cemeteries,  now  inaccessible,  lay  under 
ofCyriaca.  the  site  of  the  present  Roman  cemetery  of  Campo 
Verano.  That  of  Cyriaca  extends  under  the  present 
Church  of  S.  Laurence  and  the  hill  against  which  it  is 
built.  During  the  last  20  years  especially  the  works 
in  the  modern  cemetery  have  almost  totally  destroyed 
Cyriaca's  catacomb."''  A  few  interrupted  galleries  of  no 
importance  remain.  But  in  i860,  a  part  of  the  hill 
was  opened  up,  and  a  cubiculum  found  with  the  fol- 
lowing paintings :  the  Redeemer  stands  between  the 
5  foolish  and  the  5  wise  virgins,  the  torches  of  the 
former  are  lowered  and  half  spent.  It  is  the  only 
complete  example  of  this  parable.  In  the  same  crypt 
Christ's  prediction  of  the  triple  denial  is  depicted,  the 
cock  at  Peter's  side.  On  the  other  side,  the  rain  of 
manna  :  outside  the  same  arcosolium  one  of  the  Magi 
in  Phrygian  costume,  the  star  being  represented  with 
the  monogram  of  Christ  within  it.  The  magus  is  here 
the  Gentile  Emperor,  the  star  which  leads  him  to 
Christ  is  the  Christian  monogram  seen  in  the  sky  by 
Constantine,  "a  luminous  proof"  writes  De  Rossi,  of 

*  Fr.  Mazzolari  S.J.  records  the  vandalism  done  under  his 
eyes  in  the  destruction  of  a  gallery  of  intact  loculi  in  1759. 


THE  CATACOMBS  523 

the  fact  that  the  ancient  catacomb  paintings  are  to  be 
interpreted  in  a  symbolic  and  allegoric  sense."  Here 
also  an  orante  represents  the  deceased,  while  2  saints 
draw  aside  the  curtain,  pendent  from  rings,  which 
admits  her  to  the  eternal  tabernacles. 

A  well  known  arcosolium  has  recently  been  again  Arcoso- 
brought  to  light.     At  the  top  of  the  fresco  Jonas  lies  li""^ 
shaded  by  the  gourd,  on  the  right  Moses  removes  his 
shoes,  on  the  left  he  lifts  his  right  hand  to  receive  the 
tables  of  the  Law.     The  central  lunette  displays  the 
scene  of  the  judgment  of  a  soul :  Christ,  nimbused.  Judgment 
in  cathedra,  between  2  personages  wearing  the  nimbus,  of  the  soul. 
The   soul   as   an  orante  stands   before  Christ.     The 
subject  is  twice  repeated  below.     The  2  personages 
are  probably  Peter  and  Paul ;  Peter  uncovered,  Paul 
with  a  high  cap  on,  and  both  seated.    Over  the  lunette 
is  the  Good  Shepherd,  between  trees  rich  with  fruit, 
2  sheep   feeding   at   his   feet.      Above,   by  Jonah,  is 
inscribed  Zosimiane  in  Deo  vivas. 

Among  the  large  collection  of  inscriptions  from  this  Inscrip- 
catacomb  in  the  Lateran  Museum,  many  are  important  tions. 
as  illustrating  dogmatic  teaching. 

The  remains  of  this  catacomb  are  entered  from  the 
Pincetto  in  the  Campo.  Santo. 

Cyriaca  is  one  of  the  celebrated  figures  of  early  S.Cyriaca. 
Christian  Rome.  Her  house  as  we  have  seen  (S.  Maria 
in  Domnica)  was  on  the  Coelian,  and  she  possessed  the 
Verano  outside  the  gate  where  the  Campo  Santo  of  Rome 
lies,  and  where  her  catacomb  was  excavated.  This 
property  was  confiscated  "  in  time  of  persecution  " 
(Liber  Pontificalis  in  Silvevio).  She  may  have  been 
one  of  the  order  of  Widows,  and  in  the  itineraries  she 
is  called  martyr,  but  she  did  not  suffer  death  for  the 
faith.  In  the  ccemetevium  Cyriaca  she  buried  S.  Lau- 
rence on  August  10,  258.-'-  Her  feast  day  is  kept  in 
Rome  on  August  21. 

*  A  IV.  century  marble  with  an  oration  on  Quiriace  (Cyriaca) 
has  been  found  here,  and  Da  Rossi  believes,  from  its  position, 
that  it  commemorates  the  owner  of  the  catacomb,  a  member  of 


524       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

The  other      With   Laurence  were  buried    the   priest  Severus, 

martyrs,     thg  subdeacon  Claudius,  the  lector  Crescentius,  and 

Romans.    Romans,  an  ostiarius ;  all  martyrs.    Romanus  was  the 

Romanus.  flj-st   martyr  brought    to   this  catacomb ;    he   was   a 

soldier,  converted  at  the  martyrdom  of  Laurence,  and 

buried  there  the  day  before  the  holy  deacon,  Aug.  9. 

Crescen-    He  was  decapitated  on  the  Via  Salaria,  and  buried  by 

tius,  Cres-  the  priest  Justinus,  who  is  a  well  known  burier  of  the 

centianus  martyrs,  and  possessed  the  Jiortus  on  the  Nomentana. 

centio     "  ^  Crescentianus  is  also  venerated  in  this  catacomb.    See 

also  Crescentio,  catacomb  of  Priscilla. 

CATACOMB    OF    HIPPOLYTUS,    ON    THE    TIBURTINA. 

Catacomb  The  second  catacomb,  that  of  Hippolytus,  though 
of  Hippo-  really  distinct  from  that  of  Ciriaca  has  been  confused 
^^"^  with  it.     It  lay  to  the  left,  as  we  leave  Rome,  as  that 

of  Ciriaca  lay  to  the  right.  Here  was  the  celebrated 
crypt  of  the  martyr  Hippolytus,  described  by  Pru- 
dentius,  and  here  Damasus  wrote  a  celebrated  inscrip- 
tion. The  crypt,  which  is  accessible,  is  an  irregular 
quadrangular  hall,  terminating  in  an  apse  :  2  steps 
lead  up  to  it.  The  base  of  the  altar  still  exists  ;  this 
altar,  isolated  in  the  centre  of  a  bema  terminated  by  an 
apse,  is  unique,  De  Rossi  tells  us,  in  subterranean 
Rome.  The  wall  of  the  apse  was  more  than  once 
restored  in  the  iv.  century,  marbles  and  inscriptions  no 
longer  in  use  being  used  as  material. 

The  entrance  is  from  the  old  Vigna  Gori. 
Inscrip-  Of  the  few  inscriptions  preserved  we  give  4  : 

tions. 

IPPOLITE  •  IN  •  MENTE 
PETRV  .  .  .  PECCATORE  • 
Have  in  mind,  O  Hippolytus,  Peter  a  sinner. 

the  Founder's  family.  If  so,  this  is  the  third  instance  of  the 
perpetuation  of  the  name  of  great  women  founders  of  the  Roman 
cemeteries;  their  descendants  being  likewise  women  owners  of 
the  ground.  Lucina  and  Priscilla  are  both  perpetuated  to  the 
IV.  century. 


THE  CATACOMBS 


52s 


4-  IIIC  •  REQVIESCIT  •  IN  •  PACE  •  HILARYS 
LICTOR  (Sic)  TT  PVDENTIS 
QVI  •  VIXIT  •  ANN  •  PL  •  M  •  XXX 
DEP  CI  IDVS  IVL  PC  .  .  .  MABORTI  •  V  •  C  . 

Here  rests  in  peace  Hilary  a  lector  of  the  title  of  Pudens. 


IVLIVS  CREDEN 
TIVS  QVI  NABIGA 
VIT  EX  BACENSE 
REGIONE  EST  IN  PACE 


Julius  Credentius  who  sailed  from  a  distant  land  is  in  peace. 


CATILIAE  IN  PACE  FILIE 
DVLCISSIME  INGENV 
A  MATER  FECIT  •  D  ■ 
P  •  Villi  •  K  •  IVL  •  DIG 
CLETIANO  •  III  •  ET  MAXI 
MIANO  •  II 


This  inscription  to  Catilia  gives  the  date  as  the  3rd  year 
of  Diocletian  and  2nd  of  Maximian. 

We  learn  from  an  inscription  that  this   cemetery 
was  attached  to  the  urban  title  of  Praxedis. 

There  are  4  saints  of  this  name  :  the  soldier-martyr  Hippo- 
converted    by    Laurence    and    buried    here,*   whose  lytus. 
relics   (presumably)   were    removed    to    France;    the 
"  Presbyter  "  celebrated  in  the  Damasine  epitaph    in 
the  famous  crypt  above-mentioned  ;  the  great  Doctor,  The  4 
of  whom  Newman  said  that  he  had  perhaps  "  no  rival  Hippolyti 
at  all,  ....  except  his  master,  S.  Irenaeus,"  whose 
statue  was  found  here  in  155 1  ;  and  the  Antiochene 
martyr  of  the  name  on  the  Via  Appia.   This  Hippolytus 
was  involved  in  the  Novatian  schism,  and  strangely 
*   Vide  Salzburg  Itinerary      (vii.  century.) 


Hippo- 
lytus  and 
Pontian. 


The 


526        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

enough  Damasus  and  Prudentius  make  their  presbyter 
Hippolytus  entangled  in  it  also. 

The  "  Hippolytus  presbyter  "  named  in  the  Filo- 
calian  calendar,  which  was  compiled  in  a.d.  336, '■'  was 
martyred  with  pope  Pontian  ;  and  this  martyr  has 
always  been  identified  with  the  great  Doctor  :  other- 
wise there  is  no  evidence  of  the  Doctor's  martyrdom. 
The  Doctor  was  a  bishop,  though  both  Jerome  and 
Eusebius  ignore  of  what  See.t 

All  these  persons  lived  or  died  in  the  middle  of  the 
III.  century.  The  vexed  question  is  :  are  the  Doctor]^ 
and  the  "  Presbyter  "  one,  and  was  Damasus  misled  ? 
So  that  the  "Schism"  in  which  Hippolytus  was 
"Schism."  entangled  was  in  fact  that  Callistan  schism  revealed  to 
us  by  the  Philosophumena  ?  §  Some  are  ready  to 
identify  the  martyr,  presbyter,  and  Doctor  of  the  Via 
Tiburtina,  making  only  one  Hippolytus  there  interred. 
The  chronology  of  the  Acts  of  Laurence's  convert  is 
very  faulty.  He  is  there  said  to  have  been  sentenced 
to  the  death  of  his  pagan  name-sake,  and  tied  to  the 
Confusion  tails  of  wild  horses.  In  the  poem  of  Prudentius  we 
in  the  are  told  that  the.  presbyter -martyr'' s  death  was  so  depicted 
in  the  celebrated  crypt :  thus  inextricably  confusing 
the  soldier-martyr  with  the  martyr-priest.  || 

The  terms  in  which  the  Appian  martyr's  connection 
with  the  Novatian  schism  is  told  in  the  earliest 
Martyrologies,  are  very  similar  to  those  employed  by 
Damasus  in  the  Carmen  on  the  Tiburtine  Hippolytus. 
One  cannot  miss  the  accent  of  uncertainty  in  the  last 
lines  of  this  famous  inscription  : 


poem  of 
Pruden- 
tius. 


HAEC   AUDITA    REFERT    DAMASUS    PROBAT    OMNIA    CHRISTUS. 


*  Depositio  Marty  rum  :  "Ides  of  August,  Hippolytus  on  the 
Tiburtina,  and  Pontian  on  the  Portuensis." 

t  The  Eastern  Church  commonly  referred  to  him  as  Bishop  of 
Rome,  or  of  the  Port  of  Rome  (Porto). 

I  Ob.  probably  circa  a.d.  236.  The  Novatian  schism  was  not 
till  252—258. 

§  See  catacomb  of  Callistus  p.  441.     S.  Callistus  p.  205. 

II  Peristephan5n,  xi. 


THE  CATACOMBS  527 

CATACOMB    OF    SS.    PETRUS    AND    MARCELLINUS,    AND    OF  Via  Labi- 
S.     HELENA    AT     TOR    PIGNATTAKA,     OUTSIDE     PORTA  CANA. 
MAGGIORE. 

This    catacomb,    known    in    the    middle    ages   as  Catacomb 
Ccemeterium  inter  diias  lauros  ad  Sanctam  Helenam,  lies  in  of  SS. 
the  campagna  in  a  spot  anciently  designated  as  :  ad  F,^'®^  ?;. 
duas  lauros,  in  comitatu  sub  Augusta.     Tertullian,  in  the  ^yg 
III.   century,  mentions  a  district  ad  duas  lauros  called 
"  Sub  Augusta,"  and   governed   by  a  bishop,  which 
Avas  almost  entirely  Christian.     The  term  Suh  Augusta 
referred  to  the  mausoleum  of  the  Augusta  Helen,  the 
mother  of  Constantine,  erected  here  by  the  imperial 
villa.      Underneath,   there   spread  a   large  cemetery, 
supposed  to  have  originated  in  the  Diocletian  persecu- 
tion ;*  but  which  has  been  shown  to  be  much  older. 
The  descent  to  this  was  made  from  the  mausoleum,  or 
Ecclesia  S.  Helena.     The  cemetery  is  now  menaced  by 
a  modern  sandpit. 

14  cubicoli  decorated  on  roof  and  walls  with  the  Painted 
usual    biblical    scenes,    were   counted   by    Bosio.      A  chambers. 
Baptism  represents  Christ  as  a  little  child,  standing  as  an 
orante  with  the  dove  on  his  head.  An  A  nnunciation  repre- 
sents Mary  seated,  and  the  angel  saluting  her.     The 
magi  appear  3  times,  twice  with  the  Madonna.     The 
paralytic  taking  up  his  bed  ;  the  haemorrhoissa,  kneel- 
ing and  touching  the  edge  of  the  Redeemer's  garment ; 
the  blind  man  healed  by  Christ  who  touches  his  eyes ; 
the  resurrection  of  Lazarus  ;  the  multiplication  of  the 
bread  ;  and  the  favourite  Dialogue  of  our  Lord  with 
the  woman  at  the  well — are  the  other  Gospel  scenes 
represented.     An  arcosolium  is  thus  decorated  :  in  the  Decora- 
lunette  is  Mary  seated  on  a  throne,  with  the  child  in  tion  of  an 
her  arms,  and  2  magi  who  bring  gifts.     She  is  un-  ^^^oso- 
veiled  and  wears  a  tunic  striped  with  purple.     This 
painting  is  assigned  to  the  second  half  of  the  iii.  cen- 
tury.    Near  are  represented  Moses  striking  the  rock, 
Noah  in  the  ark,  Lazarus  raised,  the  bread  multiplied, 

*  Acts  of  SS.  Susanna  and  Sebastian. 


528        CHRISTIAN  AND  ECCLESIASTICAL  ROME 

and  an  orante.  On  the  wall  by  the  door  of  the  crypt 
is  a  fossor  at  work.  On  the  roof  is  the  Good 
Shepherd  with  the  sheep  on  his  shoulder,  2  more  at 
his  feet,  and  the  usual  tree  on  either  side  representing 
country.  The  Jonah  cycle  is  also  depicted. 
Unique  A  scene  unique  in  the  catacombs,  occurs  frequently 

scene  re-  in  this  one,  a  reproduction  of  it  can  be  seen  in  the 
thi^^ca/a-  C^"stian  museum,  and  in  d'Agincourt's  book.  At 
comb.  either  end  of  the  /—s  shaped  table  at  which  are  placed 
3  guests,  a  woman  is  seated  in  cathedra  :  between  them 
is  a  tripod  with  something  (a  fish  ?)  laid  on  it.  By  the 
side  of  one  is  an  amphora,  the  other  places  her  arm 
on  a  youth,  apparently  dressed,  as  she  is,  in  a  sleeved 
dalmatic,  who  bears  in  his  hand  a  large  chalice,  which 
he  is  taking  in  the  direction  of  the  other  seated  figure, 
whose  right  hand  is  extended  as  if  directing  his  move- 
ments, or  to  take  the  cup  from  him.  The  3  other 
seated  figures,  which  are  small  and  less  conspicuous, 
all  stretch  their  arms  across  the  table.*  Over  the 
painting  is  written  Iretie  da  calda  .  Agape  misce  mi  (or 
misce  vi,  S^(/i).  The  names  are  always  Irene  and 
Agape;  but  the  words  vary  to:  Agape  misce  nobis; 
Irene  porge  calda.  Which  of  the  2  kinds  of  banquet 
distinguished  by  De  Rossi  does  this  represent  ?  The 
eucharistic  convivium  of  Christ's  disciples  on  earth,  or 
the  Banquet  of  the  blessed  in  heaven  ?  It  is  answered 
that  the  scene  just  described  represents  the  latter, 
which  is  ministered  by  "  Peace  "  and  "  Love,"  the 
2  essentials  of  the  joy  of  Paradise.  The  liturgies  for 
the  dead  speak  of  the  blessed  convictus,  or  banquet  of 
God,  "  et  justi  epulentur,  et  exsultent  in  conspectu 
Dei "  (and  the  just  shall  feast,  and  shall  exult  in  the 
sight  of  God) ;  God  is  besought  to  give  to  the  dead 
"  refrigerii  sedem,"  a  seat  of  refreshment  ;  and  Refri- 
gerium,  as  we  know,  is  the  word  generally  employed  to 
express  heavenly  joys.  In  the  Acts  of  the  martyrs 
Marianus  and  Janus,  circa  a.d.  259,  Janus  is  repre- 

*  In  every  representation  of  the  bread  and  fish  banquets  in  the 
catacombs,  one  or  2  of  the  persons  present  point  in  this  way. 


THE  CATACOMBS  529 

sented  saying  to  Marianus  :  "  ad  martyrum  beatorum 
pergo  convivium  " — /  go  fonmrd  to  the  banquet  of  the 
blessed  martyrs. 

But  there  is  another  explanation  of  this  scene, 
agreeing  with  the  usual  distinction  between  the  feasts 
of  bread  and  fish,  and  the  scenes  in  which  adults  and 
children  rejoice  among  fruit  and  flowers,  in  which  we 
recognise  the  refrigerium  of  heaven.  According  to  this 
explanation,  the  scenes  in  the  catacomb  of  SS.  Petrus 
and  Marcellinus,  represent  the  agape,  or  Christian  feast, 
and  the  2  women  who  always  appear  in  it  are 
deaconesses."  It  may  be  noted  that  Irene  and  Agape 
became  usual  as  Christian  names,  and  it  is  just 
possible  that  the  first  to  adopt  them  were  the 
deaconesses,  in  allusion  to  their  ministration.  Bear- 
ing in  mind  the  distinction  between  the  2  scenes  of 
happiness  to  be  met  with  in  the  catacombs,  we  must 
first  observe  that  the  presence  of  the  tripod  and  fish  is 
unknown  in  scenes  symbolic  of  paradise  ;  on  the  other 
hand  the  treatment  here  is  entirely  novel — the  baskets 
are  absent,  while  the  liturgical  action,  the  indicating 
with  the  hand,  is  present ;  and  we  may  perhaps  there- 
fore regard  this  scene  as  an  Agape  (which  was  there- 
fore probably  administered  by  the  deaconesses)  in  this 
instance  adapted  to  symbolise  the  celestial  beatitude. 
To  our  mind  the  2  women  are  given  separate  parts  in 
the  scene  ;  and  their  dress  differs  also. 

There  are  3  great  divisions  of  this  catacomb,  each  Divisions 
originally   approached   by   a   separate   staircase,   and  of  the 
having  its  separate  system  of  luminaria.     In  one  region  catacomb, 
were  interred  the  martyrs  Petrus  and  Marcellinus,  in 
the  others  Gorgonius  and  Tiburtius  respectively.     At 
this  moment  excavations  are  being  made  beneath  the 
ruins  of  a  basilica,  which  it  is  believed  will  result  in 
the  discovery  of  the  crypt  of  the  former  luartyrs.     In 
a  subterranean  oratory  discovered  by  Bosius  and  now 
again   brought   to   light    the   Redeemer    is    depicted 
between  these  4  martyrs.     The  fresco  is  reproduced  in 
•  Kirchenlexicon,  Kraus 

34 


530       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Basilicas 
above. 


The  mar- 
tyrs. 


the  Christian  Museum.     A  large  stairway  leading  to 
2  floors,  and  covered  with  graffiti  among  which  occurs 

Tiburtius  in  ^jT  cun  suis  amen,  may  give  access  to  the 

crypt  of  that  martyr. 

Constantine  is  said  to  have  built  a  church  in  honour 
of  Peter  and  Marcellinus,  near  Helena's  Mausoleum. 
There  was  also  an  oratory  dedicated  to  Tiburtius. 

For  Peter  and  Marcellinus,  see  p.  262.  The  other 
2  are  martyrs  of  the  same  date,  the  Diocletian  perse- 
cution of  A.D.  304.  All  4  were  interred  here  by  a 
kinswoman  of  Tiburtius.  Tiburtius  was  burned,  and 
Bosius  saw  among  some  fragments  of  mosaic  the 
figures  of  saints  all  wearing  diadems,  one  of  whom 
had  a  fire  at  his  feet. 

For  the  "  4  crowned  Saints  "  here  buried,  see  p.  333. 
A  band  of  soldiers  and  anonymous  martyrs  were 
laid  to  rest  here  in  304.     The  Diocletian  persecution, 
as  we  know,  was  an  attempt  to  root  out  the  Christian 
.  religion  by  striking  at  all  classes  of  Christians — slaves, 
cution,       clergy,  and  soldiery  were  hunted  down,  and  the  large 
284—305.   number  of  soldiers  who  fell  shows  that  the  faith  had 
penetrated  the  Roman  legions. 

Cemetery  The  CEMETERY  OF  S.  Castulus  on  the  same  road  is 
°!i^;,  ^^^'  ^^^  inaccessible,  it  has  recently  been  cut  through  in 
* constructing  a  railway. 


Soldiers 
buried 
here. 
Diocle- 
tian perse 


tulus. 


Via  Fla-  catacomb  of  s.  valentine. 

Caticomb      This  catacomb,  the  only  one  upon  the  Via  Flaminia, 

ofs.  is   the   burial-place  of   S.   Valentine  martyred  under 

Valentine.  Claudius  in  269  and  buried   by  a  Christian  matron 

Sabinella  in  her  own  property.     Its  situation  we  learn 

from   the   pilgrims'   itineraries ;    the   Einsiedeln    MS. 

states  "I'w    Via  Flaminia  forts  muram  in  dextra,"  and 

another    incorporated    in   William   of   Malmesbury's 

History  :  "  Ibi  in  prinio  miliaria  foris  S.  Valentinus  in  sua 

ecclesia  reqiiiescit."     "  There  at  the  first  mile  without, 

S.  Valentine  rests  in  his  church."     The  catacomb  was 


THE  CATACOMBS  531 

found  by  Bosius  in  the  xvi.  century  but  was  only 
identified  as  that  of  S.  Valentine  by  Professor  Marucchi 
some  few  years  ago. 

The  entrance  is  beneath  the  Monte  Parioli  and 
leads  almost  immediately  and  without  descent  into 
a  vestibule.  Here  in  all  probability  Sabinella  laid  the  Vestibule, 
body  of  Valentine.  The  sarcophagus  of  the  saint 
stood  possibly  on  the  left ;  on  this  wall  are  remains 
of  frescoes  representing  4  saints,  probably  Valentine,  Frescoes. 
Zeno  and  the  two  Persians,  Audiface  and  Abacum — 
only  their  feet  are  now  visible.  Here  can  be  seen  the 
graffiti  of  pilgrims,  among  them  the  names  marcus 
PRESBYTER  and  PETRUs  PRESBYTER,  two  priests  who 
doubtless  came  to  say  Mass  here  in  the  vii.  century. 
Opposite  the  entrance  are  still  traces  of  a  frescoed 
crucifixion,  the  only  one  as  yet  found  in  a  catacomb." 
In  a  niche  to  the  left  of  this  fresco,  is  a  madonna 
and  child,  Byzantine  in  type,  by  the  side  the  words 
"  Sancta  Dei  Genetrix "  in  letters  one  above  the 
other.  The  whole  oratory  was  probably  decorated  in 
the  VII.  century  by  Pope  Theodore,  and  we  know  that 
it  was  venerated  as  the  resting  place  of  Valentine  even 
after  the  body  of  the  saint  was  removed  from  it. 

To  the  original  oratory  of  this  catacomb,  other  por- 
tions were  added — an  opening  was  made  in  the  centre 
of  the  wall  and  galleries  were  excavated  for  interment 
near  the  body  of  the  martyr.  These  were  cut  in  a 
regular  and  parallel  manner,  a  form  rare  in  catacombs. 
Many  of  them  have  been  destroyed  and  all  have  been 
injured  and  the  loculi  etc.  altogether  obliterated  by  the 
adaptation  of  the  catacomb  for  many  years  as  a  wine 
vault.  At  a  later  date  another  floor  was  made  above,  Upper 
cut  into  the  substance  of  the  hill,  this  was  probably  floor, 
in  the  iv.  century,  and  was  the  public  cemetery.  It 
is  of  larger  dimensions  than  the  lower  floor,  but  at 
present  only  part  is  excavated,  and  no  frescoes  or  in- 
scriptions have  been  found. 

Few  inscriptions  have  come  to  light  in  the  catacomb  Inscrip- 
•  See  p.  26.  '^°"'- 

34—2 


532       CHRISTIAN  AND  ECCLESIASTICAL  ROME 

of  S.  Valentine,  those  fragments  saved  had  been  used 
as  building  slabs  for  the  sepulchres  of  a  cemetery 
made  above  ground  at  a  later  date,  and  have  now  been 
affixed  for  the  most  part,  to  the  walls  of  the  galleries. 
On  one  to  several  persons  of  a  family,  occur  the  words 
AD  DOMNU  VAL  .  .  .     This  is  of  the  III.  century.     In 

another,  the  monogram  w  y/  k  shows  it  to  be  anterior 

to  the  Constantinian  period. 

CRESCENTIAN 

VIXSE  ANNVS  II 

ET  MESIS  IIII 

DEPOSITVS 


M 


^      )k       K 


Some  of  the  inscriptions  bear  consular  dates,  one  of 
these  is  of  a.d.  410,  the  notable  year  of  Alaric's  sack 
of  Rome,  the  only  inscription  of  this  date  yet  found. 
Another  is  to  a  priest  of  the  title  of  S.  Lorenzo  in 
Lucina,  showing  that  the  cemetery  belonged  to  this 
parish.  In  one  inscription  occurs  the  word  refrigeri  so 
characteristic  of  primitive  inscriptions  : 

Brucia  REFRIGERI 
TIBI  V 

Basilica  of  As  early  as  the  iv.  century  a  basilica  was  built  by 
Valentine.  Julius  I.  (337-352)  in  honour  of  S.  Valentine,  which 
was  placed  by  the  side  of  the  catacomb  owing  to  the 
hilly  ground.  It  was  surrounded  by  an  open  air 
cemetery,  one  of  the  first  such  in  Rome,  and  the  date 
318  upon  one  of  its  tombs,  shows  it  to  have  been  in 
existence  even  before  the  building  of  the  basilica. 
The  latter  was  of  such  importance  that  it  was  called 
Basilica  magna,  and  gave  the  name  of  Porta  Sancti 
Valentini  to  the  neighbouring  city  gate.  The  body  of 
the  martyr  was  not  translated  to  this  basilica  until  the 
pontificate  of  Honorius  I.  (625-640).     Fragments  of  a 


THE  CATACOMBS  533 

Damasian  inscription  have  been  found  which  no  doubt  Damasian 
was  placed  upon  the  altar  of  the  confession.  Inscrip- 

A   niche   near   the   tribune   possibly  held  an  altar  ^°°" 
dedicated  to  S.  Zeno,  as  the  translation  of  his  body 
here  is  mentioned  in  the  Liber  Pontificalis. 

In  the   IX.  century  a  Benedictine   monastery  was  Monas- 
built  near  the  basilica.     In  the  xiv.  century  during  the  tery. 
Avignon  exile,  the  church  was  abandoned,  and   the 
body  of  the  martyr  was  removed  to  S.  Prassede.    The 
ruins  of  the  basilica  with  fragments  of  sarcophagi  were 
found  in  1888.    The  "Acts"  and  ancient  martyrologies  S.  Valen- 
give  the  14th  of  February  269  as  the  date  of  Valen-  tine, 
tine's   martyrdom.-''      He   suffered  under  the  second 
Claudius.     Valentine  was  a  priest  and  a  doctor,  and 
through  his  skill  as  such  was  accused  of  magic  and 
was  condemned  to  decapitation.     Another  Valentine, 
Bishop   of  Terni  in   Umbria  suffered   martyrdom   at 
about  the  same  date,  and  was  buried  in  Terni.     By 
some  he  is  considered  to  be  one  and  the  same  person 
as  the  Valentine  of  the  Via  Flaminia.     De  Rossi  how- 
ever believes  them  to  be  distinct.! 

THE  SUBURBAN  CEMETERIES  OF  ROME. 

The  spots  outside  Rome  where  Christian  catacombs  Suburban 
lie  are  :  Veil,  Ficulea,  Tivoli,  Tusculum,  Valmontone,  catacombs 
Albano,  Ariccia,  Nemi,  Marino,  Anzio,  Porto,  Ostia,  °^  ^oi"e. 
Lorio,  etc.     They  number  some  34.     On  the  Nomen- 
tana,  6  miles,  lies  the  interesting  catacomb  of  Alex- 
ander, and  on  the  Portuense,  5  miles,  that  of  Generosa 
— both  excavated. 

*  Lectionarium  Cod.  Vat.  5696.    The  BoUandists  published  the 
"  acts  "  of  Valentine  in  Tom.  II.  of  February, 
t  See  Catacomb  of  Praetextatus. 


VISITOR'S  CALENDAR. 

Churches  in  Rome  are  shut  from  12  to  3  in  the  afternoon,  to  admit  of  cleaning. 
They_  open  about  5-30  a.m.  and  close  at  the  Ave  Maria.  Basilicas  however 
remain  open  the  whole  day.  Churches  seldom  used  are  open  at  an  early 
hour  on  Sunday ;  and  the  least  frequented  churches  on  the  feast  day,  the 
Station  day  in  Lent,  and  for  the  Quarant'  Ore. 

\For  an  account  of  the  Station  and  of  the  Quarant'  Ore,  See  Part  II. 
of  the  Handbook. '\ 


Entrance  to  the  Catacomb  of  S.  Callistus,  which  is  in  the  care  of  the  Trappists, 

can  be  obtained  every  day  from  early  in  the  morning  till  3  p.m.      There  is  a 

fee  of  I  franc. 
The  little  Catacomb  of  S.   Agnese,  entered  from  the  Basilica,   is  closed  from 

June  I  to  October  31  ;  and  after  midday  on  3.\\_fesias :  at  other  times  it  can 

be  seen  by  applying  at  the  sacristy.     Only  5  visitors  are  allowed  to  enter  it 

at  one  time. 
Entrance  to  the  other  catacombs  (except  that  of  S.  Sebastian,  always  open)  can 

be  obtained  by  applying  to  Monsignor  Crostarosa,  Via  del  Quirinale  No.  24; 

parties  being  then  sent  with  a  proper  guide. 


January  i    . .     Circumcision  and  Feast  of  the  Holy  Name  of  Jesus. 
Station  at  S.  M.  in  Trastevere. 
At  4  p.m.  at  the  Gesu  the  "  Veni  Creator  "  is  sung 
for  the  beginning  of  the  New  Year. 
,,         5    ..     Eve  of  Epiphany . 

3  p.m.  Blessing  of  the  water  at  S.  Atanasio  in 
the  Greek  rite  and  at  4  p.m.  at  S.  Andrea  della 
Valle  in  the  Latin  rite. 

4  p.m.  1st  Vespers  of  the  Feast  at  the  Propa- 
ganda Fide. 

„        6    ..     Epipha?iy. 

During  the  morning  mass  in  Oriental  rites  at  the 

Propaganda  Fide. 
II. 15  a.m.  High  Mass  of  the  Feast. 
9.30  a.m.  Pontifical  Mass  in  an  Oriental  rite  at 

S.  Andrea  della  Valle ;  and  the  same  every  day 

of  the  Octave. 
9.30  a.m.  the  Cardinal  Vicar  blesses  the  water  in 

the  Latin  rite  in  S.  Francesco  delle  Stimate. 
4  p.m.  2nd  Vespers  at  the  Propaganda. 


VISITOR'S  CALENDAR  535 

January  16  . .     S.  Marcello.     Feast  in  S.  Marcello  al  Corso. 

.1         17..     S.   Antonio  Abate.      Blessing  of  horses  in  the 
piazza  outside  the  church  of  S.  Eusebio  during 
the  morning.  * 
3.30.  1st  Vespers  at  S.  Peter's. 
18  . .     Chair  of  S.  Peter  in  Rome.     Feast  at  the  Vatican 
Basilica. 
10  a.m.  High  Mass. 

S.  Prisca.     The  church   and   sotterraneo  on  the 
Aventine  should  be  visited. 
,,        20  . .     4  p.m.  ist  vespers  of  S.  Agnese  at  the  church  in 
Piazza  Navona. 
21  . .     S.  Agnese  V.M. 

10  a.m.   Pontifical  Mass  at  the  basilica  outside 
the  walls  and  blessing  of  the  lambs. 
,,         25  . .     Conversion  of  S.  Paul.     A  small  feast  is  kept  at 
the  basilica,  and  at  S.  Paolo  alia  Regola  where 
the  subterranean  altar  is  shown. 

30  . .     5.  Martina.     Feast  at  the  church  in  the  Forum. 

31  . .     Eve  of  S.  Ignatius.     At  the  time  of  Vespers  the 

lower  church  of  S.  Clemente  is  lighted  up,  and 

the  same  the  next  day. 
February  i  . .     S.    Ignatius,    Bishop    and    Martyr.      Feast    in 

S.  Clemente. 
2..     Purification  of  the  B. V.M.     Candlemas. 

10.30.    Pontifical  Mass,  distribution  of  candles 

and  Procession  at  S.  Peter's. 
5 . .     S.   Agata.      Feast   at   the  chapel   of  the   Irish 

College. 
7..     Cappella  Papale  in  the  Sistine  Chapel,  Requiem 

Mass  for  Pius  IX.  (tickets  necessary). 
8..     S.  John  of  Matha,  founder  of  the  Trinitarians. 

His  room  is  shown  over  the  arch  of  Dolabella. 
9..     S.  Apollonia.     Distribution  of  dowries  to  young 

girls  in  S.  Agostino. 
22..     Chairof  S.Peter  at  Ant  ioch.    Festival  at  S.  Peter's. 

CALENDAR    FOR    LENT. 

Ash  Wednesday  . .     Station  at  S.  Sabina,  S.  Alessio,  and  S.  M.  in 

Cosmedin. 
1st  Thursday  ....  ,.       ,,  S.  Giorgio  in  Velabro. 

,,    Friday    ,,       ,,  SS.  Giovanni  e  Paolo  and  S.  Gre- 

gorio. 

,,   Saturday    „       ,,  S.  Trifone  and  S.  Agostino. 

,,   Sunday „       ,,  The  Lateran. 

•  Animals  are  blessed  on  this  day,  the  great  Abbot  Antony 
being  their  patron. 


536       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


ist  Monday Station  at  S.  Pietro  in  Vincoli. 

,,   Tuesday ,,       ,,  S.  Anastasia. 

2nd  Wednesday  ..  ,,       ,,  S.  M.  Maggiore. 

,,    Thursday ....  ,,       ,,  S.  Lorenzo  in  Panisperna. 

,,    Friday ,,       ,,  XII.  Apostoli. 

,,    Saturday ,,       ,,  The  Vatican.     On  this  day  there 

is  a  general  ordination  at   the 

Lateran. 
„    Sunday ,,       ,,  S.  M.  in  Domnica,  S.  Gregorioand 

S.  M.  Maggiore. 
,,    Monday    ....  ,,       ,,  S.  Clemente,  at  Vespers  the  lower 

church  is  illuminated. 
„    Tuesday    ....  ,,       ,,  S.  Balbina. 

3rd  Wednesday  , .  ,,       ,,  S.  Cecilia. 

,,    Thursday ,,       ,,  S.  M.  in  Trastevere. 

„    Friday S.  Vitale. 

„    Saturday ,,       ,,  SS.  Marcellino  e  Pietro. 

,,    Sunday ,,       ,,  S.  Lorenzo  Fuori. 

,,    Monday    ....  ,,       ,,  S.Marco. 

,,    Tuesday    ,,       ,,  S.  Pudenziana. 

4th  Wednesday  . .  ,,       ,,  S.  Sisto  and  SS.  Nereo  e  Achilleo. 

,,    Thursday*    . .  ,,       „  SS.  Cosma  e  Damiano. 

,,    Friday ,,       ,,  S.  Lorenzo  in  Lucina. 

,,    Saturday ,,       ,,  S.   Susanna  and   at   S.   M.  degli 

Angeli. 


Sunday  called) 

Lcetare j 

Monday    


,,    Tuesday    .... 

5th  Wednesday  . . 
,,    Thursday 

,',    Friday  

,,    Saturday,  ) 

caXled  Sitientes) 

„    Sunday,    Pas-| 

sion  Sunday) 

,,    Monday    

,,    Tuesday    

6th  Wednesday  . . 
„    Thursday 


„  S.  Croce. 

,,  SS.  Quattro  Incoronati,  S.  Giro- 
lamo  della  Carita  and  at  S.  M. 
in  Vallicella  (Chiesa  Nuova) . 

,,  S.  Lorenzo  in  Damaso  and  S.  An- 
drea della  Valle. 

,,  S.  Paolo  Fuori. 

,,  S.  Silvestro  in  Capite  and  S.Mar- 
tino. 

„  S.  Eusebio  and  S.  Bibiana. 

,,  S.  Nicola  in  Carcere. 

,,  S.  Peter's. 

,,  S.  Crisogono. 

,,  S.    Ciriaca,   and    SS.    Quirico    e 

Giulitta. 
•,,  S.  Marcello. 
,,  S.  Apollinare. 


*  This  day  the  chief  pictures  of  the  Madonna  are  uncovered, 
and  remain  so  until  the  Tuesday  after  Low  Sunday. 


VISITOR'S  CALENDAR 


537 


Cth  Friday   Station  at  S.  Stefano  Rotondo. 

,,    Saturday ,,       ,,  S.  Giovanni  a  Porta  Latina 

,,    Sunday,  Palm) 
Sunday     . .  j 

„    Monday    

,,    Tuesday    .... 

7th  Wednesday  . . 

,,    Thursday.... 

Good  Friday   .... 

,,      Saturday   .. 

Easter  Sunday    . . 

Monday  .. 

Tuesday  . . 

Wednesday     in      ) 

Easter  week     . .  J" 
Thursday  in  Easter ) 

week ) 

Friday   in    Easter)    f 

week j    ( 

Saturday  in  Easter  | 

week j 

Low  Sunday    .... 


The  Lateran. 

S.  Prassede. 

S.  Prisca,  S.  M.  del  Popolo,  and 

S.  M.  in  Campitelli. 
S.  M.  Maggiore. 
The  Lateran. 
S.  Croce. 
The  Lateran.* 
S.  M.  Maggiore. 
The  Vatican. 
S.  Paolo  Fuori. 

S.  Lorenzo. 


SS.  XIL  Apostoli. 

The  Pantheon  and  S.  M.  sopra 
Minerva. 

The  Lateran. 

S.  Pancrazio  and  S.  M.  in  Traste- 


March 


On  all  the  Fridays  there  is  a  Station  and  special 
Vespers  at  S.  Peter's  ;  followed  by  Compline. 

Anniversary  of  the  Coronation  of  Leo  XIII.  Cap- 
pella  Papale  at  the  Vatican  (tickets  necessary). 

S.  Thomas  Aquinas.  In  S.  M.  sopra  Minerva  and 
in  other  Dominican  churches. 

S.  Francesca  Romana.  Feast  at  the  church  in  the 
Forum. 

S.  Gregory  the  Great.  Feast  at  the  church  on  the 
Coelian. 

Feast  in  the  chapel  within  the  Palazzo  Mas- 
simo, t 

S.  Patrick.     Feast  at  S.  Agata  and  S.  Isidore. 

S.Joseph.     General  holiday. 

In  the  chapel  of  S.  Helena,  in  S.  Croce,  the 
Great  Reliquary  called  "  of  S.  Gregory  the 
Great  "  is  shown. 

S.  Benedict.  Feast  in  the  little  church  over  Ponte 
Sisto. 

5.  Balbina.   Feast  in  the  church  on  the  Aventine. 


•  For  the  Holy  Week  Calendar  and  the  functions  of  this  week 
see  Pt.  II.  of  this  Handbook, 
t  See  p.  230. 


538       CHRISTIAN  AND  ECCLESIASTICAL  ROME 


April  17 

..  23 
..  25 
..      28 

..      29 


May  2 
..     3 


June 


,,    23..     .. 

,,24..     .. 

„    26..     .. 

,,    28  and  29 

July  31..     ., 

August  i     . . 

5     •• 

15  •• 
September  14 
November  i 


S.  Anicetus  Pope.   Feast  in  the  church  of  Palazzo 

Ahemps. 
S.  Giorgio.     Feast  in  the  church  in  the  Velabro. 
S.  Marco.     Feast  in  the  church  of  S.  Mark. 
S.  Paul  0/  the  Cross,  founder  of  the  Passionists. 

Feast  at  SS.  Giovanni  e  Paolo. 
Olives  are  blest  and  distributed  at  S.  M.  sopra 

Minerva  "  against  lightning  and  tempest,"  this 

being  the  feast  of  S.  Peter  Martyr. 
S.  Catherine  of  Siena.      Feast   at   S.   M.  sopra 

Minerva. 
5.    Athanasius.      Feast    in    the    Greek    rite    at 

S.  Atanasio. 
Re^finding  of   the  Cross.      The   Cardinal    Vicar 

usually  celebrates  mass  at   S.    Croce,  about 

9  a.m. 
S.  Pius  V.    His  body  is  shown  at  S.  M.  Maggiore 

(a  very  Roman  feast).     His  room  is  shown  at 

S.  Sabina  on  the  Aventine. 
5.  Giovanni  a  Porta  Latina.     This  church  and  the 

tiny  chapel  of  S.  Giovanni  in  Olio  are  open. 
SS.  Nereo  e  Achillea.  Feast  in  the  church.   S.  Pan- 

crazto.  Feast  in  this  church  also. 
S.  Piidentiana.     Feast  at  her  church. 
S.  Philip  Neri.     Feast  at  the  Chiesa  Nuova. 
On  the  feast  of  Corpus  Christi  there  is  a  great 

festival  in  S.  Peter's,  and  on  the  evening  of  the 

Octave  there  is  a  great  procession  in  which 

the  girls  who  have  received  dowries,  either  to 

marry  or  to  go  into  convents,  take  part. 
Eve  of  S.  John  Baptist.     Vespers  at  the  Lateran  : 

before  Vespers  gilliflowers  are  blest  for  the  sick. 
S.  John  Baptist.     The  great  feast  of  this  saint  at 

the  Lateran. 
SS.  Giovanni  e  Paolo  Martyrs.      Feast  at  their 

church. 
S.  Peter.     Great  Festival  at  the  Vatican. 
S.  Ignatius  Loyola.     Feast  at  the  Gesii. 
Titular  feast  at  S.  Pietro  in  Vincoli. 
S.  Maria  delta  Neve.     Titular  feast  of  S.  M.  Mag- 
giore. 
Assumption  of  B.V.M.     Feast  in  S.  M.  Maggiore. 
Exaltation  of  the  Cross.     Feast  at  S.  Croce. 
All  Saints.      This  festival  is  kept  at  a  different 

church  every  year. 
All  Souls.     On  this  day  and  until  the  loth  the 

Campo  Verano  and  S.  Lorenzo  are  visited. 
Feast  of  all  the  English  Saints  at  the  church  of 

S.  Giorgio,  Piazza  di  Spagna. 


VISITOR'S  CALENDAR  539 

November  9  Dedication  of  the  Lateran  basilica.  At  5.30  at  the 
Campo  Santo  chapel  near  the  Vatican,  the 
cemetery  is  illuminated  and  the  function  of 
absolution  of  the  dead  is  performed. 

„  18     Dedication  of  the  basilicas  of  S.  Peter  and  S.  Paul. 

Station  at  both  churches,  and  ist  and  2nd 
Vespers  are  sung  at  S.  Peter's  on  this  day  and 
on  the  Eve. 

„  21      Vespers  at  S.  Cecilia  at  3  p.m. 

22  S.Cecilia.    The  titular  Cardinal  celebrates  Mass. 

The  2nd  Vespers  are  at  3  p.m.  To-day  and 
to-morrow  S.  Clemente  is  illuminated  at 
Vespers. 

23  S.  Clemente.     Feast  at  the  church. 
December  2       S.  Bibiana.     Feast  at  her  church. 

5        S.  Sabba.     The  church  is  open  on  this  day. 

21      5.   Thomas  Apostle.      The  chapel  in  the  Cenci 
Palace  is  open  on  this  day. 
,,  24      Vigil  of  Christmas  day.    Station  at  the  altar  of  the 

Presepio  at  S.  M.  Maggiore  where  the  culla  is 
carried  to-day.  At  3  p.m.  Christmas  Mass  in 
the  Armenian  rite  at  S.  Niccolo  da  Tolentino 
and  at  S.  Biagio.  Vespers  of  the  Feast  at 
S.  M.  Maggiore  at  3  p.m. 

25  Christmas  day.     Station  at  S.  Anastasia  for  the 

Mass  at  Dawn,  and  for  the  rest  of  the  day  at 
S.  Peter's.  At  6  a.m.  procession  of  the  culla 
at  S.  M.  Maggiore  when  the  church  is  full  of 
peasants.  At  7  a.m.  Matins  and  Mass  in  the 
choir  chapel  at  S.  Peter's,  usually  with  lovely 
music.  At  II  a.m.  High  Mass  at  S.  Peter's 
and  at  all  other  churches.  On  this  and  the 
following  days,  little  children  recite  in  the 
afternoon  at  Ara  Coeli. 

26  S.  Stephen  Protomartyr.     Station   at   S.   Stefano 

Rotondo,  where  there  is  pontifical  mass. 
At  3.30  p.m.  First  Vespers  of  S.  John  the  Apostle 
at  the  Lateran. 

27  S.  John  Evangelist.     Feast  at  the  Lateran. 

,,  29     S.   Thomas  of  Canterbury.      Titular  feast  in  the 

church  of  the  English  College. 
31     At  4  p.m.  asolemn  Te  Deumissungat  the  Gesu. 

STATIONS    OF    ADVENT. 

ist  Sunday,  Station  at  S.  Peter's  and  at  S.  M.  Maggiore. 

2nd      ,,  ,,  S.  Croce  where  the  Reliquary  of  "  Gregory 

the  Great  "  is  shown. 
3rd       ,,  ,,  S.  Peter's. 

4th      „  .,         XII.  Apostoli. 


EMPERORS  AND  POPES  DURING  THE 
AGE  OF  THE  PERSECUTIONS. 


Accession. 

Anno. 

Anno. 

Peter,  martyred      ... 

...       67 

Claudius  ... 

...       41 

Nero        

54 

Linus 

79 

Galba,  Otho,  Vitellius 

...       68 

Vespasian 

...       68 

Anencletus 

...       91 

Titus        

...       79 

Domitian 

...       81 

Clement  ... 

...     106 

Nerva 

...       96 

Evaristus... 

...     108 

Trajan     ... 

...       98 

Alexander  (year  of  accession) 

Hadrian   .. 

..      117 

109     ...             ...           or      121 

Sixtus  I.  (119) 

,       132 

Telesphorus(i29)  ... 

,       142 

Antoninus  Pius 

...     138 

Hyginus(i39) 

,       154 

Pius  I.  (143) 

,       158 

Marcus  Aurelius    ... 

...     161 

Anicetus  (157) 

,       167 

Soter(i68) 

.       175 

Commodus 

...     180 

Eleutherius(i77)  ... 

,       182 

Pertinax... 

-     193 

Victor  I 

•••     193 

Didius  Julianus 

-     193 

Niger 

-     193 

Zephyrinus             ...         20 

2  0^203 

Septimius  Severus... 

...     193 

Callistus  I.  (219)    ...            I 

■>r      221 

Caracalla,  Geta      ... 

...     211 

Macrinus 

...     217 

Elagabalus 

...     218 

Urban  I.  (223)       ... 

,       227 

Alexander  Severus... 

...     222 

Pontianus  (230)      ...            , 

.       233 

Antheros  (235)       ...            , 

,       238 

Maximinus 

-     23s 

The  two  Gordians,  Maximus, 

Pupienus,  Balbinus 

...     237 

Fabianus  (240)       ...           , 

,       236 

Third  Gordian 

...     238 

Philip      ... 

...     244 

Decius     ... 

...     249 

Cornelius  (254)      ...           , 

,       251 

Hostilianus,  Gallus 

...     251 

4 


EMPERORS  AND  POPES  DURING  PERSECUTIONS      541 


Accession. 

Anno. 

Anno. 

Lucius  I.  (252)       ...             or    255 

Volusianus 

...     252 

Stephen  I. 

•     253 

^milianus,  Valerianus, 

Gal- 

Sixtus  II. 

•     257 

lienus  ... 

•••     253 

Dionysius(26i)      ... 

•     259 

Felix  I.  (269) 

.     272 

Gallienus  alone      ... 

...     266 

Claudius  II.  (the  Goth) 

...     268 

Aurelianus 

...     270 

Eutychianus 

.     275 

Tacitus    ..^ 

•••     275 

Florian    ... 

...     276 

Probus     ... 

...     276 

Caius 

.     283 

Carus 

...     282 

Carinus,  Numerianus 

...     284 

Marcellinus 

.     296 

Diocletian 

...     284 

Marcellusl.  (308).. 

■     304 

Constantius,  Gallerius 

•••     305 

Severus   ... 

...     306 

Constantine  (the  Great) 

...     306 

Licinius  ... 

•••     307 

Eusebius  (310) 

•     309 

Maximinius 

...     308 

Melchiades  (Miltiades) 

■     311 

Constantine,  Galerius, 

Licin- 

Sylvester  I. 

•     314 

ius,  Maximinius,  and  Maxi- 
minianus,  reigning  together. 

A.D.  309.   "Peace  of  the 

Constantine,  alone 

...     323 

Church." 

'Lihenus{tn  exi/e)  ... 

•     352 

Felix  II.  (Antipope) 

.     356 

Julian  (the  Apostate) 

...     361 

Damasus... 

.     366 

INDEX. 

In  this  index,  incidental  references  to  the  subjects  treated  in  Parts  II.,  III.,  and  IV. 

of  the  Handbook,  are  not_  included. 
The  List  of  the  Churches  is  given  on  page  357. 

The  List  of  the  Catacombs  on  page  419,  and  at  the  end  of  this  Index. 
S  in  italics  before  a  name,  refers  to  the  account  of  the  Saint  named  in  Chapters  V. — 

VIII. 
m  in  italics  after  a  name,  refers  to  the  account  of  a  Martyr  or  other  Saint  occurring  in 

Chapter  X.  (the  Catacombs). 


A. 
Abyssinians  in  Rome*  342,  343. 
Ad  Catacumbas  53  ;  135  ;  138  ;  378  ; 

419. 
S.  Adrian  162. 
S.  Agata  169. 
Agellus  167  ;  369. 
S.  Agnes  165. 
S.  Alexis  175. 
Altar  16 ;  28. 
Altare privilegiata  31, 
Ambones  17  ;  33. 
Ambulacrum  135  ;  207. 
S.  Anastasia  176. 
S.  Anastasius  124  ;  350. 
S.  Andrew  180. 
Anglo  Saxons  in  Rome  55;  63;  95; 

116  ;    159  ;   197  ;    249  ;   250 ;   342, 

343- 
S.  Anicetus  181. 
SS.  Anna  &  Joachim  182. 
S.  Apollinaris  184. 
Apostles,  martyrdom  of,  188,  189. 

,,         emblems  of  21;  188. 
Arcosolium  380. 
Arculce  33. 
Areae  &  Arenaria  369. 
Arena  368 

Ark  of  the  Covenant  84,  84  note. 
Armenians  in  Rome  124  ;  299. 
S.  Athanasius  195. 


Atrium  13. 

S.  Augustine  172. 

B. 

S.  Balbina  197.    , 
Balbina  m.  448. 
Baldacchino  28. 
Baptisteries  15  ;  100. 

octagonal  100. 
S.  Barbara  198. 
S.  Bartholomew  199. 
Basilica  8 ;  9. 

,,       the  name  6  ;  10. 

„        &  Forum  10  ;  13. 
Basilica  Constantiniana  89. 

,,        Eudoxiana  316. 

,,        Heleniana  139. 

,,       Laurentiana  255. 

,,       Liberiana  126. 

,,        Ostiensis  112. 

,,        Sessoriana  139. 

,,       of  Maxentius  13. 

,,        Ulpiana  13. 
Basilicas,  circular,  20 ;  343  ;  347. 

sepulchral,  7  ;  381. 
Baths  attached  to  Basilicas  63  ;  113  ; 

119.- 
Baths  of  Diocletian  201 ;  267. 
I      ,,     of  Novatus  328  ;  331 ;  331  vote. 
j  B6ma  16. 
Benefactor,  in  art,  21. 


*  The  references  to  Nationalities  in  Rome  are  exclusive  of  the  reference  to  the 
National  Churches,  for  the  list  of  which  see  page  159. 


INDEX 


543 


S.  Biagio  202. 
S.  Bibiana  204. 
Blessing  lambs  156. 
Bocca  delta  Veritd  275. 
Bodies  of  the  condemned  385  noie. 
Borgo  63  ;  93  ;  95  ;  114  ;  147. 
Brandea  44  ;   118. 
Byzantine  architecture  lo  ;  20. 
art  21  ;  37. 


Calepodius  m.  504. 
Callistus  292. 
S.  Callistus  205. 
Calvary  (image)  40. 
Campanile  18,  20. 
Cancelluni  17. 
Candelabrum  17. 
Cantharus  15 ;  32. 
Catacomb,  the  word,  367. 
CATACOMBS,  List  of,  419. 

,,  soil  of,  368. 

,,  extent  of,  370. 

,,  apostolic,  370. 

,,  dates    of    burial    in, 

373.  373  note. 

,,  restorations  of,  374. 

,,  sacking  of,  375. 

,,  in  Middle  Ages,  377. 

„  ruin  of,  377. 

,,  decoration  of,  386. 

,,  symbolism    of,    386  ; 

390 ;  403- 

, ,  Old  Testament  scenes 

in,  387. 
,,  New     Testament 

scenes  in,  389. 
,,  Eucharistic    symbols 

in,  400. 
,,  Eucharistic  scenes  in, 

402. 
,,  objects  found  in,  404. 

notes  on  inscriptions 

in,  408. 
examples   of  inscrip- 
tions in,  416,  417. 
,,  explorers  of,  379. 

Cathedra  16 ;  34. 

ofS.  Peter  61  ; 
S.  Cecilia  210. 

Cetta  tnemoria  51  ;  151  ;  380. 
Cemetery,  the  word,  367  ;  382. 
,,         use  of  word,  113  ;  370. 


Cemetery,  at  Tre  Fontane  125. 
,,         in  Trastevere  219. 
„         at  the  Vatican,   50  ;  289  ; 

289  note. 
,,         or  Campo  Santo  of  Rome, 
150. 
S.  Cesareo  214. 
Chapels  &   Cubicula   18  ;    31  ;    151  ; 

370  ;  380 ;  381. 
Choir  17. 
Christ,  images  of,  39  ;  40. 

,,      occult  emblems  of,  39  ;  399. 

Sacred  Heart  (image)  39. 
,,      Sancta  Sanctorum  picture  of, 

63. 
,,      monogram  of,  399. 
,,      name  of  in  catacombs  399,  400, 
400  note. 
Ciborium  28  note  ;  32. 
S,  Claudius  214. 
S.  Clement  221. 
Cloisters,  of  Later  an  93, 

of  S.  Paul's  119. 
Cola  di  Rienzi  loi. 
Column  of  the  Flagellation  323,  323 

note. 
Confession  or  Martyrium  17  ;  30  note. 
Confessional  35. 
Confessor  17. 

Constantina  151  ;  157  note  ;  158. 
Constantine,  baptism  of,  100 ;  340. 
Constantinian  basilicas  55  ;  89  ;  112  ; 

152  note ;  215  ;  220  ;  225  ;  338. 
Consular  dates  413. 
Cornua  altaris  28. 
SS.  Cosma  &  Damian  225. 
Cosmato  224. 
S.  Costanza  158. 
Credence  table  34. 
S.  Crisogono  226. 
Cross  22. 

,,    gam  mat  a  23. 
,,     Greek  22. 
,,    jewelled  22,. 
,,     in  Mosaics 'Z'^;  98. 
,,      Tau  22  ;  23. 
Crucifix  24 ;  39. 

,,        skull  on,  27. 
Crucifixion  24 ;  242. 

,,  caricature  of,  24. 

,,  earliest    Christian     repre- 

sentation of,  25. 
Crypts,     See  cubiculum. 


544 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


Cubiculum.    See  Chapels  and. 
Culla  131. 
Cyriaca  m.  523. 

Damasine  inscriptions  427. 
Damasus,  account  of,  256. 
Depositio  382. 
Diaconia  4 ;  269. 
Di  Manibus  410. 
Dominicum  5  ;  214. 
Domitilla  m.  515. 
Dotnus  ecclesice  3  ;  6. 
Domus  FaustcB  88, 

Doors  (bronze)    58;   72;   100;    115, 
115  note. 

„      (carved)  335  ;  351. 

,,      Porta  Santa  58  ;  72. 

E. 
Early  meeting  places  of  the  Christians 

205  ;    215  ;    217  ;    257  ;  264  ; 

278  ;  291 ;  326. 
,,     (Trastevere)  291  ;  356. 
Eastern  Christians  in  Rome  53  ;  71. 
"  Ecclesia  "  5. 

Ecclesia  Fratrutn  5  ;  370  ;  371. 
Emblem  &  image  23,  23  note. 
Emerentiana  m.  476. 
Encolpii  384. 

Ermete  (Hermetis)  m.  479. 
Eternal  Father,  emblems  of,  21. 
Eudoxia,  Empress,  315. 
S.  Eusebius  229. 
S.  Eustace  230. 
Evangelists,  emblems  of,  21  ;  189. 


Fa9ades  18. 

Felicissimus  &  Agapitus  mm.  450. 

Felicitas  m.  481. 

Felix  II.  m.  521. 

Fenestrella  confessionis  232. 

Filocalian  calendar  53  ; 

, ,         characters  427. 
Fonts  4 ;  32. 
Fossors  372. 
Foundations    of   Religious    (earliest) 

147;  156- 
Fra  Angelico,  tomb  of,  284. 
Franks  &   French  in  Rome  64 ;  80 ; 

96;  no  ;  123  ;  ■2&onote. 
Frescoes  20. 
Funeral  Rites  382. 


G. 

Galla   Placidia   113,    113  note;    114; 
117  ;  142  ;  342. 

S.  George  237. 

Germans  in  Rome  280  ;  280  note. 

Ghetto  356. 

Giotto  71. 

Good  Shepherd  226  ;  391  ;  408. 

Gordianus  &  Epimachus  mm.  505. 

Gothic,  the,  9  ;  12  ;  20  ;  170  ;  274. 
j  Goths  in  Rome   8 ;   61  ;  64  ;  65  ;  65 

note ;  165. 
'  Graffiti  375. 

\  Greeks  in  Rome  272  ;  274  ;  278  ;  281 
I      319  ;  327  :  334. 
I  Gregory  the  Great  8. 
1        , ,       Homilies  and  chairs  of,  307 ; 

344 :  481 ;  503 ;  Si6. 

S.  Gregory  248. 

Grotte  Vaticane  42  ;  53  ;  84. 

H. 
Helena,  Empress,  139  ;  141  ;  158. 
Hildebrand  114;  119;  135;  240. 
Hippolytus,  on  the  Appia  440. 

,,  &  Callisius,  205,  206. 

„  in  France  525. 

, ,  statue  of,  109. 

,,  on  the  Tiburtina  525. 

Hippolytus  m.  525. 
Holy  Family  (picture)  40. 
Holy  water  32. 

Honorius,  Emperor,  8  ;  64  ;  113. 
Hortus  369. 
Hypogeum  265 ;  370. 

I. 
Iconoclastic  controversy  37, 
Images  36. 

in  the  East  36. 
Immaculate  Conception  (image)  40. 
Indulgentia  plenaria  31. 
Inscriptions.     See  Catacombs. 
Irene,  Empress,  37. 
Irish  in  Rome  254, 
S.  Isidore  254. 

S.  James  the  Greater  235. 
James  h  fUKp6s  188. 
S.  James  the  Less  187. 
Januarius  m.  481. 
Jerome  244. 
Jewish  burial  371  note. 


INDEX 


545 


S.  Joachim  182. 
S.  John  Baptist  no. 
John  Damascene  43. 
S.  John  Evangelist  in 
55.  John  &  Paul  244. 
S.  Joseph  251. 

images  of,  252. 
Justin  tn.  496. 

l^teran  88. 

„        baptistery  of,  99. 

,,        Christian  museum  of,  107. 

dedication  of,  89  ;  102. 
,,        Palace  93. 
5.  Laurence  148. 
Leo  &  Charlemagne  94  ;  346. 
Leo  the  I  saurian  37. 
Leonine  City  63. 
Lights  in  churches  35. 
Loculi  379  ;  379  note. 
Locus  religiosus^i  ;  368,  368  note. 
Lombards  in  Rome  58  ;  65  ;  289. 
Longinus  the  Centurion  87  note. 
S.  Louis  261. 

Lourdes  Grotto  (picture)  40. 
Lucina  7  ;  54 ;  112;  117;  138;  259; 

263  ;  422  ;  423. 
Lucina  m.  498. 
S.  Luke  190. 
Luminaria  381. 

M. 
Macao  121. 

Madonna,  No.  of  churches  dedicated 
to,  267. 
first  church  dedicated  to, 
127. 
,,         as   figure   of  the   church, 
392  rote. 
as  orante  27  ;  391. 
pictures  of,  22  ;  489. 
Magnanapoli  208. 
5.  Marcellus  264. 
S.  Mark  the  Evangelist  267. 
.Vlark  m.  (pope)  448. 
S.  Martina  301. 
Martyrdom  302  note. 
Martyrs,  tombs  of,  2  ;  7  ;  8  ;  16  ;  17  ; 
30. 
,,        violation  of  tombs  of,  42. 
translation  of  bodies  of,  339 ; 
376. 
S.  Mary  of  Egypt  299. 
Mater  dolorosa  (picture)  40. 


Matronajum  13  ;  135  ;   145  ;  155. 
Michael  Angelo,  67  ;   186  ;  316. 
Missionary  church  for  the  clergy  289. 
Mithras  217. 
Modem  symbols  397. 
Monumentum  369. 
Mosaics  20,  21. 

N. 
Narthex  13. 

Nereus  &  Achilleus  w;«.  518. 
Nero's  Circus  49. 
S.  Nicholas  of  Bari  307. 
S.  Nicholas  of  Tolentino  308. 
Nimbus  32  note ;  324  note  ;  396. 


Obelisks,  of  the  Vatican  49  ;  70. 
,,        of  Piazza  Navona  164. 
Octavilla  m.  503. 
oTkos  3. 

S.  Onofrio  310. 
Orante  27 ;  391. 

Oratorium  Sanctce  Crucis  102  note. 
Orpheus  400,  400  note. 
Ostiarii  372. 

P. 
Pagan  symbolism  (adaptation  of)  109  ; 

400  ;  400  note  ;  404. 
Pantheon  311. 
Paradisus  56. 
Parish  4  ;  141  ;  356. 

,,     churches  in  Rome,  160,  161. 

, ,      priests  of  Rome,  160  note. 
Pastorus  326  ;  329  ;  332. 
Paternostrari  56. 
Patriarchium  94 ;  107. 
Paul  in  Rome  297  ;  312. 
S.  Paul  119. 
Pavements  16 ;  133. 
Pax  ^w. 

"  Peace,"  the,  8  ;  88. 
PETER  AV  Ro.ME  46  ;   197  ;   297  note , 

305 ;  315 ;  326  ;  328. 

in  the  Catacombs  444;  467;  475. 
, ,      &  the  Domine  quo  Vadis  448 

note. 
, ,      place  of  martyrdom  49. 
Priscilla  &  Aquila  326. 
&  Simon  Magus  232. 
,,      statue  of  74. 
5.  Peter  317. 

Peter  &  Paul,  apocryphal  Acts  of,  48. 
,,  portraits  of,  514. 

35 


546 


CHRISTIAN  AND  ECCLESIASTICAL  ROME 


I'eter  &  Paul,  leave-taking  of,  48 ;  122. 
passion  of,  47;  122. 
place  of  burial  of,  50 ; 

112  ;  117. 
translation  of  bodies  of, 
S3  :  444- 
SS.  Peter  &  Marcellinus  262. 
Petronilla  64  ;  80  ;  507. 
Petronilla  m.  516. 
S.  Philip  187. 
Pietk  (image)  40. 
Pietra  sacra  30. 
Piscina  34. 

Pius  IX.,  tomb  of,  146. 
Porticoes  56  ;  91  ;  220. 
Prcedium  167. 
S.  Praxedis  325. 
Predella  28,  29. 
S.  Prisca  327. 
Priscilla  325  ;  327  ;  493. 
Prifcilla  vi.  495. 
Priscilla  &  Aquila  326  ;  475. 

WW.  495. 
Processus  and  Martinianus  mm.  503. 
Propaganda  Fide  328. 
Prophets,  in  art,  21  ;  322  note. 
S.  Pudentiana  330. 
Pulpit  33. 

Q- 
Quattro  Incoronati  333. 
Quirinus  197  ; 

R. 
Raphael,  tomb  of,  312. 
Red  hangings  in  the  churches  62. 
Refrigerium  394  ;  402  ;  403  note  ;  410. 
Regions  (of  city)  3  ;  3  note  ;  371. 
Relics  30  ;  41 ;  74 ;  376. 

,,     of  True  Cross  75  ;  139  ;  142. 
Reservation  33. 
Rioni  3. 

Rivers,  the,  in  mosaics,  21 ;  266. 
Roman  Christian  Famihes  (first  ages) 
Anici  501. 
Bassi  85 ;  501. 

Cecilii  210;  212;  330;  424;  438. 
Claudi   167 ;   325 ;    331.   331 

note  ;  346. 
Comeli  326-7 ;  330 ;  437 ;  499 ; 

506  note. 
Eusebi  434. 
Eutychiani  458  ;  497. 
Flavii  151  ;    157 ;    158  ;    164  ; 
506  ;  507. 


Roman  Families 

Glabriones  493. 

Ostorii  475. 

Petroni  131  ;  517. 

Pontiani  521. 

Praetextati  212;  452  ;  ^ggnote. 

Probi  64  ;  78  ;  132  ;   162, 

Pudenti    7 ;    320  ;    325-328  , 
330:  483- 

Satyri435;  447. 

Uranii  447. 
Roman  churches,  number  of,   6  ;   6 
note;   159. 

house  241  ;  332  ;  346. 
,,         houses  3. 
Rooms  of  Saints  352. 

S. 
5.  Sabba  334. 
5.  Sabina  337. 
Sacra  lancia  75. 

Sacrament,  chapel  or  altar  of,  32. 
Sarcophagi  107  ;  407. 

,,  in  atria  of  basilicas,  lov- 

,,  inscriptions  on,  109. 

Scala  Santa  93  ;  106. 
Schola  Cantorum  104  ;  292. 
Schola  Greca  274. 
Scotch  in  Rome  177  ;  378. 
Sculpture  108  ;  109  ;  408. 

,,         subjects      represented      in 
Christian,  108. 
S.  Sebastian  138. 
Sedilia  34. 
Seminarist  churches  or  chapels  i68  ; 

181  ;    183 ;    195  ;    and  see   List   of 

Churches  357. 
Sessorian  Palace  139. 
Sette  Chiese  (or  "7  churches")  132  ; 

134. 
Severa,  empress,  347. 
Sixtus  m.  428. 
Soteris  m.  4  ;  442. 
Spaniards  in  Rome  286. 
Stadium  162  ;  311. 
Stations  of  the  Cross  (pictures)  41. 
S.  Stephen  345. 
S.  Susanna  346. 
Sylvester,  pope,  94  ;  280. 
S.  Sylvester  340. 
Sylvia,  245  ;  248  ;  334. 
S.  Sylvia  248. 
Symbolism  of  mosaics  17,  18. 


INDEX 


547 


r. 

Tituli  3:4;  5. 

Tabernacle  32. 

Titus,  Arch  of,  90  noie. 

Tarsicius  m.  428. 

Trastevere  58  ;  291 ;  356. 

Tasso309. 

Tre  Fontane  122. 

Temple  of  Antoninus  &  Faustina  259. 

Tropcea  Apostolorum  51. 

Bona  Dea  271. 

Claudius  243. 

U. 

Fortuna  Virilis  299. 

Unum  ex  sept  em  31. 

Hercules  277. 

Urban,  bishop,  212. 

Minerva  281. 

Urban,  pope,  212  ;  452. 

Piety,  Hope,   &   Matuta 

306. 

V. 

Quirinus3Si. 

Valentine  m.  533. 

Romulus  222. 

Valerian  &  Gallienus,  edicts  of.  372 

Venus  &  Rome  231. 

373- 

Templum  Pacis.  or  Sacrse  Urbis 

222. 

Vatican,  Part  IV. 

Probi  57. 

Velabrum,  236. 

lertuUinus  m.  505. 

S.  Venantius  103. 

Theodolinda,  queen,  25  ;  44. 

Vicus  Patritius  328  ;  330. 

S.  Theodore  347. 

.5.  Vincent  350. 

Theodoric  the  Goth  64. 

5.  Vitalis  351. 

Theodosius,    emperor,    8;    113 

"3 

no^e. 

X. 

S.  Thomas  348. 

Xystus.     See  Sixtus. 

Thrasus  m.  482. 

Three  Judgments  251. 

Z. 

Tiberius,  legend  of,  63. 

Zeno  m.  451. 

ACCESSIBLE 

CATACOMBS. 

iAGE 

FACE 

Agnese 

454 

Ostrian         

.       466 

Balbina 

448 

Petrus  and  Marcellinus 

.        527 

Callistus 

422 

Pontianus     ... 

■       518 

Cyriaca 

522 

Praete.xtatus 

•     449 

Domitilla 

505 

Priscilla        

483 

Ermete 

476 

Thecla          

.     502 

Felicitas 

480 

Thrasus  and  Saturninu.^ 

.     481 

Hippolytus 

524 

Valentine 

530 

Octavilla 

502 

THE 

END. 

BILLING  AND  SONS,   FRINTERS,  GUILDFORD. 


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